• The static level of the form, allowing to create visual semiotic markers.
• The dynamic and paradigmatic level of the form (i.e. functional relations between the temporal boxes).
• The syntactical level, i.e. the calculus building the musical discourse inside the temporal boxes.
• The material level.

These four levels of information are obviously interconnected. The most important advantage in the maquette concept is to offer a visualization of this interaction and at the same time, to provide interactive control of it. This produces a source of experimentation:

• Recombination at the form level. Temporal boxes are moved and stretched in time without changing the other three levels.
• Modification of functional relations. We do not change the position of the blocks but their causal relation.
• Syntax modification. Algorithms which build the material can be changed according with the compositional goals.
• Change of the material. The color of the piece may change while keeping all the formal organization.

When combining these procedures, sophisticated musical experiments can be carried out.

5 Conclusion

CAC renews completely the idea of notation, which becomes dynamic, in the sense that it includes the generative mechanisms of the work. Scores become potential