AbstractIn the early December 2023 the 90th anniversary of Krzysztof Pendereckiwas celebrated in Krakow. In my speech I thought to apply some of my most recent developments in the existential semiotics.I had with my method, which I now called 'zemic analysis', come to the point to solve a major problem of my approach namely the one of its notation. Namely, as early as in the previous phase of my research, dominated by the Parisian school, I had encountered the challenge of a new type of notation which should be as clear as Schenker method exploiting only traditional music notes. Earlier in the so called 'modal' grammar of, say, Chopin G minor Ballade, I had utilized symbols borrowed from the formal logics. And so a musician not trained in such a semiotic or anglo analytic approach was not able to understand them.However, in front of this totally new kind of empirical material, like the early Penderecki, I was inspired by his innovative graphic notations at his sonoristic work. In fact, they came rather close already to the new symbols and graphs I had already used in some recent theoretical essays on musical semiotics (see the list below), particularly regarding the so-called 'zemic model'. Yet, now, for the first time, existential semiotics was applied to a radical avant-garde music.