The second part of the article examines methods of transformation of musical notation in the works of composers of the 20th century, such as textual explanations for performers, an indicat ion of improvisation within the framework of controlled aleatorics, unusual but understandable graphic signs and symbols (drawings, graphs, lines). Addressing the problems of musical writing and musical speech, the author analyzes the main ways of recording the composer’s original musical intent. The uniqueness of each composer's musical notation has important conceptual significa nce for understanding the musical intent. The author of the article turns to the work of composers who often use unusual methods of notation, to the musical works of Sofia Gubaidulina, Jannis Xenak is and John Cage. The discussion about the insufficiency of traditional notation for modern composers, the status of musical writing and musical speech, and ways to capture the composer’s musical intent continues, so we see further research on the topic in this direction. As a result of the study, it was revealed that modern composers use various visual and expressive techniques of musical graphics to express their musical thoughts: extensive explanations for performers, the indicated possibility of improvisation within the framework of controlled aleatorics, unusual, but nevertheless understandable graphic symbols. Some composers turn to non-traditional notation techniques, such as drawings, graphs, and lines.