Basically, there are only very few examples of electroacoustic notation, most of them having been conceived briefly after World War II. The reasons are that electroacoustic processes are very complex and it is hard to depict them in a score. Moreover, it is also not necessary to do so as the composer – in opposition to instrumental music – may operate all sound producers himself and, by doing so, become an interpreter of his own music. Hence an electroacoustic composer is able to produce very complex works without any help.
So if this is possible, why should one notate electroacoustic music? First of all, one needs to understand that this form of electroacoustic music is considered to be an alternative to »traditional« electroacoustic music and not a replacement. One also needs to acknowledge that it is not possible to produce as complex pieces as it is possible by means of audio software. This is due to that the paper size restricts the number of parallel processes. Even though there have been various attempts to overcome such restrictions (e. g. Ligeti’s Apparitions, Stockhausen’s Punkte or Gruppen as well as Boulez’s Notation I-IV), it needs to be acknowledged that the number of concurrent events has to be limited. This is because an extremely large score becomes – either due to its sheer size or the number of simultaneous events – unreadable, which compromises its instantaneous comprehension, and hence sight-reading (in terms of live-electronic music or the reception of electroacoustic music).
On the other hand notated electroacoustic music offers a special visual level that facilitates analysing the piece. I believe that this kind of clear and comprehensible accessibility may only be offered through the visual depiction of music by means of a score. Moreover, a score adds a unique interrelated visual artwork to an electroacoustic piece and creates an additional level of perception because one can now read and listen to a piece of music at the same time. Personally, I consider this form of cognition as the most beautiful way of perceiving a musical work. Finally, a score enables you to create versions/interpretations of the same piece. Hence one can explore different insights into the same piece and detach it from the past by re-creating it in the present.