B section where percussive effects dominate the texture. Here, the demands of the timbre system require that new means of sound production be introduced to the composition. Throughout the score, Penderecki includes other forms of graphic notation. Thick, black lines signify tone clusters, as in the basses at rehearsal 6. Here, each individual is given a note to play, so that all notes of a scale sound simultaneously. At rehearsal eight in the basses, Penderecki uses a symbol resembling a long band of intersecting sound waves to represent a glissando passage. Here, a starting note is indicated for each player, but the speed of the glissando is “at choice.” Penderecki’s innovative notation system allows effective communication of the sonoristic system. Compositional process The manuscript sketches of the score reveal insights into his compositional procedure. The sketch for Polymorphia is 33 pages long and is ordered and numbered in reverse chronology. The complete draft of the score appears first, followed by sketches “which grow progressively more fragmented and graphically abstract.” The earlier sketches are abstract graphic drawings made from Penderecki’s aural concepts. From these, he formulated pitch material and formal structure. Finally a shorthand notation was applied which could be translated into the complete piece of music. This score, as well as others in the sonoristic style, are notated in cutout format. Also, the sketches are visually impressive with their use of red, green, blue, and black ballpoint ink. Also noteworthy is Penderecki’s encephalographic pitch notation in the second A section from rehearsals 57 through 60. Here, he bases the composition on actual electroencephalograms, which are representations of brain waves. These were recorded at the Kraków Medical Center as patients listened to a recording of his Threnody for the Victims of Hiroshima. The musical effect created is that of sound masses of unbroken sliding pitches. In popular culture Rock musician Jonny Greenwood collaborated with Penderecki on an album featuring Polymorphia released on March 13, 2012 and including a piece composed by Greenwood entitled 48 Responses to Polymorphia. Polymorphia is used in the soundtrack of the horror films The Exorcist by director William Friedkin (1973) and The Shining by director Stanley Kubrick (1980). Bibliography Bylander, Cindy. “A Selected Bibliography of Books and Articles on Penderecki's Avant Garde Composition.” Studies in Penderecki 1 (2003): 337–360 Chlopicka, Regina. “Stylistic Phrases in the Work of Krzysztof Penderecki.” Studies in Penderecki 1 (1998): 51–64 Chlopicka, Regina