In Musical Grafitti(II), "virtuoso drawings for amplified piano, large ensemble and tape with cosmic sounds, von den herrn Asberion Ska-tune" (1983-84), Schaathun is particularly concerned about investigating the relationship between various kinds of compositional techniques and their actual influence on the sound image, and therebye on the musical language. Thus is Musical Grafitti about different settings of the same musical gesture, which are presented in the initializing Formula. At the same time Formula serves as a model for the progression of the entire piece on various levels.
The computer-program SCHAATON, written especially for this work by Swedish composer Bo Rydberg, governs the relative intervallic relationship in the first extensive piano exposition. In this part of the piece, the computer establishes the chordal focal points of the work, thus rather paradoxically making itself redundant.
The brief tape interpolations and the long ending consist of cosmic noise recorded by a satelite. This noise symbolizes the outermost edge of the musical continuum Schaathun is seeking to describe: from "white" noise to music characterized by an "advanced" syntax. To compose is to control a defined continuum of sound. In this piece the control is represended by the Formula.
The piece may also be read as a big prelude to Luciano Berios "points on the curve to find..." At one point Schaathun's "curve" crosses Berios curve, and the contours become directly involved in Berio's instrumentation before passing through and the soloist disappears into the "coloured" noise into which the piece fades away.
(+ Fransk versjon NMI)