Figurative world of Sonata No. 3 for prepared piano J. Cage in the context of Indian art

Abstract

The article is devoted to the cycle “Sonatas and Interludes” for the prepared piano, the author of which is the American composer of the 20th century, the leader of the musical avant-garde John Cage. This piano cycle is rightfully considered one of his most famous compositions, embedded in a series of such world masterpieces as D. Shostakovich's “Preludes and Fugues”, P. Hindemith's “Ludus tonalis”, “20 views on the baby Jesus” O. Messian. Written under the impression of the works of Kumaraswamy Ananda, the cycle demonstrates the composer's deep immersion in Indian culture. Despite the performing popularity, this work has not yet received a comprehensive understanding in domestic musicology, which determines the relevance of the topic of research. The author of the work focuses on Sonata No. 3 as an example of the embodiment of the cultural and aesthetic principles of the Indian dance tradition, the patterns of which are determined in the structure, images, sound palette of the composition. As the study showed, the musical material of the sonata, its general sonor system is close to the ancient phenomenon of Indian music – the shruti system, originally reproduced by Cage thanks to the prepared piano.