Reading Evil Nigger by Julius Eastman (1940-1990) is a surprising experience. There is a mixture of traditional solfegic notation, unconventional signs (timed time, arrows, etc.) and gaps relating to many parameters (instrumentation, rhythm, tempo, character). Two hypotheses emerge: either the writer does not have the technical means to use conventional musical notation; or he has deliberately made these choices, who is therefore experimenting with his aesthetic aim. This immediately question the conceptual framework that reduces notation to a “form” given to the “substance” that would be musical thought.
The classification of Eastman’s notations into four main families makes it possible to renew the reflection on the links between theories of musical writing and practices of readings and interpretations.