In this article, we propose a reflection on the hypothesis that partition is an operation of diagrammatic thought. Indeed, the various meanings of the diagram - particularly in the work of authors such as G. Deleuze, F. Guattari, M. Foucault and G.Châtelet - which go far beyond that of a simple schema in favour of that of 'diagrammatic experience and thought', open up a new 'diagrammatic' reading of the phenomenon of the score. Our study seeks to validate this hypothesis, particularly in the case of autographs and graphic scores.
Viewed through the lens of diagrammatic thought and experience, the score can be understood as something other than a communication tool: it acquires the status of an interface that makes certain operations of musical thought visible and intelligible, and itself becomes a sui generis mode of writing thought.