Usually, the notation systems of musical scores do not have a work identity in the sense of a work of art. They are a means to an end, a tool that makes it possible to realize a piece of music.While it is absolutely unimportant what a piece of music looks like as long as it is decodable and can therefore always reproduce the same piece of music, a painting or a sculpture, for example, is a unique, directly tangible phenomenon, a work of art, an original. In my new series, I have elevated this aesthetically insignificant, fleeting and temporary character of a sheet of music to the level of a work of art by meticulously designing it artistically, stylistically and technically. The sheet music becomes graphic works of art, and through the experimental approach to notation, inspired by the individually developed sign systems of contemporary composers, they lose any characteristic that distinguishes them as a notation system. Thus, I reverse the direction of the relationship between a sheet of music and a piece of music being played. The representation of notes functions as a work of art itself and becomes an original, while the interpretations played of a piece are subject to the utmost variability, flexibility, arbitrariness, intuition and imagination of the performer. Theoretical references to this cycle are: Walter Benjamin with his thoughts on the technical reproducibility of the work of art, Richard Wollheim with his ideas about the work of art as type and token, Nelson Goodman's distinction between the allographic and autographic character of art, conceptual art, appropriation art, Andy Warhol, Mike Biddle, Elenie Sturtenwand, Luhmann's system theory, pop music and electronic music or new music.
Spring 2024