The practice of graphic notation on the 20th century music

As it is seen in every artistic branch, music is created due to economical, social and cultural conditions of season. So notation of music would be effected by seasonal alterations of music. Thus graphic notation was arised because of such necessity. Composers have improved new notation technics which includes new signs and explanations to describe new timbres of new electronic devices and musical instruments. These technics are named ?Graphic Notation? generally. Despite miscellanous experiments in creative efforts of graphic notation only two of them were successfull because of using same signs in different meanings, different signs in the same meanings and failing of notation basic due to overmuch of intangible symbols and verbal instructions. The first one is ?Klavarscribo? and the second one is ?Equiton? of those two. Both of them are based on piano clavier. Each sound is located on its own place of clavier picture without using any accidental. However, composers have returned to traditional notation because of some defects in ?Klavarscribo? and ?Equiton? notations. One of main problems is that both notations are based on clavier picture and therefore they fail to describe on other instruments than keybords. The other one is that individual allocation to each of twelve tones in a staff and it disturbs eyes. Eventually it is too early for an unsuccesfull revolution and a radical reform in traditional notation will be competent at the present time.