LABYRINTHUS. HIC HABITAT MUSICA

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The phenomenon of graphic scores has intrigued and inspired artistic talent since its emergence after World War II. While visually striking, these scores often elude clear performance methods and resist traditional analysis. This study approaches graphic scores through the lens of Information Theory, particularly ergodic texts, which require significant effort from participants to realize. As cybernetic objects, these scores challenge conventional notions of music, its functioning, and its meaning. The performance of music becomes a transformative journey, akin to navigating a labyrinth, where risk and transcendence coexist. The exploration of ergodic scores is grounded in theoretical foundations, examining their abstract mechanics, historical context, and notable figures from the postwar avant-garde, including Yoko Ono, Roman Haubenstock-Ramati, Anestis Logothetis, Pauline Oliveros, and John Cage. The study combines pioneering theoretical insights with original archival research and interviews with the artists, alongside the author's extensive experience as a composer and performer of graphic scores. This comprehensive analysis positions these scores as significant achievements of the twentieth century, affirming their status as a vibrant and evolving art form.