Abstract The study explores various compositional techniques in John Cage¡¦s "Sonatas and Interludes for Prepared Piano." In the music not only does the composer develop his individual styles, but also uses traditional idioms. In this composition, Cage displays different methods that are used to create a sense of indeterminacy. His use of time proportion, form and Micro-Macrocosmic Structure in the work breaks away from tradition idioms. This technique of composition reflects important characteristic in Cage¡¦s oeuvre. Thus, Cage holds the important status in the piano and in the history of Western music. The thesis consists of four chapters: Chapter one provides an overview of the American social movements in relation to the music of twentieth-century, investigating the influences on Cage¡¦s compositions. Chapter two deals with works in different stages, discussing the characteristics and related process in the works. Chapter three provides a detail analysis of "Sonatas and Interludes for Prepared Piano." Chapter four summarizes the findings of this research.

John Cage ¡]1912-1992¡^, American composer who received most attention on the development of 20th century music. His new concepts of music transformation gave tremendous influence to the 20th century music development. In 1940, Cage was invited to compose for dance, in the process, he applied the experience of studing with Henry Cowell; completed the first prepared piano work, Bacchanale. The apex of composing prepared piano works was from 1942 to 1952. Cage all together composed twenty pieces for prepared piano. Prepared piano is a concept that changes the timbre and pitches of traditional piano by insert some preparations, like bolts, screws, rubbers or woods into the strings. According to the material quality, these preparations that Cage used including five types, hardware, woods, rubbers, plastics and clothes. We can make piano to produce timbre like percussions through these preparations. Besides introduction and conclusion, this research consists of three parts. Part one discusses the development of avant-garde and non-traditional piano techniques in America in 20th century. Part two discusses Cage¡¦s life to realize the multiformity of his composition ideas. Part three discusses the origination of prepared piano, and takes Mysterious Adventure as example to explore the type materials of preparation and the similarities with gamelan music.

John Cage, (1912-1992) pioneer in new music, innovator, inventor of the happening and philosopher, writer and artist was one of the most creative forces of the twentieth century. His earliest works were 25-tone contrapuntal compositions. He later developed a strong interest in writing for percussion ensembles and collected instruments that were both found and made. He conducted his own percussion orchestras and discovered that they were the answer to his philosophy of the sounds of the future. He considered percussion music the transition from keyboard-influenced music to music which allowed for all sounds and silences. From 1939-1951 John Cage composed several works for prepared piano that used time as a structural device. Many of these works were written for the dance in collaboration with Merce Cunningham. This document addresses the historical significance of these works and relates Time to other areas that influenced Cage--including Zen and the Dance. This document provides descriptive analyses of Bacchanale, Music for Marcel Duchamp and selected Sonatas from the Sonatas and Interludes. To this writer's knowledge there have not yet been any analyses of Bacchanale or Music for Marcel Duchamp. The analyses reveal Cage's primary structural techniques in which he uses duration of spaces of time. Time lengths and the square root method appear to be the most important. These techniques first appeared in Imaginary Landscape #1 and First Construction in Metal--both dating from 1939. A brief description of all his prepared piano works is included to demonstrate Cage's commitment to rhythmic structuring. All of these works have been studied by this writer and several have been performed in concert by this writer. These include: Music for Marcel Duchamp, Primitive, For a Valentine Out of Season, A Room, Prelude for Meditation, Amores (Movements I and IV), and selected Sonatas from Sonatas and Interludes. A section has been included which explains the nature of materials used for preparations and their timbral effects. A Conclusion is provided demonstrating that Cage chose rhythm over harmony to structure his music. This information is drawn from the influences on Cage, his early percussion works, procedures employed in the percussion works and transferred to the prepared piano and the influence of dancers and Oriental philosophy. An Appendix is included with charts of the Sonatas. A Bibliography which shows the references consulted is included.

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Thesis (Ph. D.--Music)--University of California, San Diego, 2000. / Vita. Music for clarinet (alto clarinet), 2 violins, viola, violoncello, prepared piano, percussion, and tape.

Thesis (M.A.)--University of California, San Diego, 2008. / Accompanying disc is DVD-ROM and contains sound files of recordings of the pieces. Title from first page of PDF file (viewed June 25, 2008). Available via ProQuest Digital Dissertations. Durations: ca. 21:00-25:00 ; ca. 10:00 ; ca. 9:00. Performance instructions precede each score The 2nd work reproduced from holograph.

When John Cage invented the prepared piano in 1940, he created a sound world and body of music unlike anything heard before. The innovative music he wrote for prepared piano requires a completely new approach to performance, and expands our understanding of the piano's capabilities. This study will examine the main prepared piano works by John Cage, with a detailed analysis of the Sonatas and Interludes. Cage's Table of Preparations will be examined to establish an aesthetic rationale for this preparation. Different modes of listening will be explored through a selection of the Sonatas and Interludes recorded in three different technological systems - conventional AB 2.0, surround 5.1, and Disk Jecklin. The latter allows for a true "surround sound" experience as Cage himself might have heard his own pieces. Included is a compact disc of selections from Sonatas and Interludes recorded in each of the three technological systems. / by Inara Ferreira. / Thesis (M.A.)--Florida Atlantic University, 2010. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 2010. Mode of access: World Wide Web.

This paper presents the history and the theoretical study of mixed music and focuses on two piano solo works and two mixed electroacoustic compositions for piano and electronics. By discussing the working process and giving the analysis of the original composition Alchemy for piano and electronics, this paper investigates the relationship between cause, source and spectromorphology, reflecting how the concept of energy-motion trajectory are embodied in this mixed electroacoustic work. Alchemy is a mixed composition for piano solo and 8-channel fixed electronics focusing on the gestural play and sonic expression. The live piano part explores the gestural sound played with a slide (cup), paper clip, and objects placed inside the piano. The 8-channel electronics part is mainly derived from the recorded acoustic piano. It extends the sonic potential of source materials and presents the diverse vectorial movements of spatialization.