PHILHARMONICA. International Music JournalReference:
John Cage’s aleatorics: on the issue of a performer’s interpretation of a text
Abstract: The article is devoted to one of the leaders of music vanguard of the post-modernist epoch – John Cage. The author considers the ways of aleatoric design of his scores and the principles of indeterminism typical for many opuses of the composer. The author analyzes the most important Cage’s works in terms of the principle of aleatorics: «Music for Changes», «Seven Haiku», «Music for Carillon ¹ 1», «Music for Carillon ¹ 2», «Music for Carillon ¹ 3», «Music for Piano», «Solo for Piano», Concerto for Piano and Orchestra, «Fontana Mix», «Aria», «Variations I» è «Variations II», «Etudes Australes». The key methodological approach to the material under study is the contextual approach implying the study of the composer’s legacy in the context of dominating techniques and styles of the second half of the 20th century. The scientific novelty of the study consists in the analysis of the principles if aleatoric organization of music structure of Cage’s works. On the basis of this analysis, the author believes it is possible to speak about the contextual nature of the composer’s opuses; to conclude that his compositions are symbolic in the distribution of aleatoric notation and in the consolidation of indeterminism as an important component of designing musical scores in the second half of the 20th century.
Keywords: performance, musicology, music of the 20th century, score, innovation, postmodernism, synthesis of arts, aleatorics, indeterminism, John Cage
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