約翰•凱基（1912-1992），二十世紀美國音樂發展中最受矚目的作曲家。他
在音樂變革性的新觀念給與二十世紀音樂發展相當大的影響。一九四○年凱基受
邀為舞蹈音樂創作，過程中想到與柯維爾學習的經驗，創作出第一部預置鋼琴作
品《酒神巴卡諾》。一九四二到一九五二年間為凱基創作預置製鋼琴作品的高峰
期，在一九四○年代，凱基為預置鋼琴創作了多達二十首的獨奏作品。預製鋼琴
是在傳統鋼琴的弦上放置外物，如螺栓、螺絲釘、橡膠、木塊等，來改變鋼琴的
音高與音色，凱吉所使用的素材依據材質大致上可以分成五金、木材、橡膠、塑
膠和布料等五類，透過這些素材使鋼琴可以產生類似打擊樂的音色。
本文除前言和結語外，共包含三部分。第一部分探討二十世紀美國前衛音樂
的發展和非傳統鋼琴技巧的創作；第二部分透過凱基的生平了解凱基在創作想法
上的多元性；第三部分探討預置鋼琴概念的由來，並以作品《神秘冒險》為例討
論素材種類及和甘美朗音樂之間的相似性。本報告將帶領演奏者更了解凱基和預
置鋼琴。

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.

中文摘要………………………………………………………………..…I
Abstract……………………………………………….………………….. II
目錄…………………………………………………………………..… III
前言…………………………………………………………………….…..1
二十世紀前衛音樂的發展
美國前衛音樂發展…………………………………………………………3
非傳統鋼琴創作……………………………………………………………8
約翰•凱基生平……………………………………………………………11
預置鋼琴
預置鋼琴概念的由來………………………………………………...……..17
預置鋼琴素材分析………………………………………………………….23
甘美朗音樂和預置鋼琴作品的相似性………………………………..…...28
結語…………………………………………………….……………………36
參考書目…………………………………………………………………….38

西文書目
Anderson Sutton. “Individual Variation in Javanese Gamelan Performance”, The
Journal of Musicology, Vol. 6, No. 2(Spring, 1988): 169-197.
Bellman, Jonathan. The Exotic in Western Music. Boston: Northeastern University
Press, 1998.
Benitez, Joaquim M. “Avant-Garde or Experimental? Classifying Contemporary
Music”, International Review of the Aesthetics and Sociology of Music, Vol. 9,
No. 1(Jun., 1978): 53-77.
Buettner, Stewart. “Cage”, International Review of the Aesthetics and Sociology of
Music, Vol. 12, No. 2(Dec., 1981): 141-151.
Cameron, Catherine M. ” Avant-Gardism as a Mode of Culture Change”, Cultural
Anthropology, Vol. 5, No. 2(May 1990): 217-230.
Chase, Gilbert. America's Music : From the Pilgrims to the Present. Urbana :
University of Illinois Press, 1987.
Fetterman, William. John Cage’s Theatre Pieces: Notations and Performances.
Harwood Academic Publishers, 2008.
Hudicek, Laurie Marie. Off Key: A Comprehensive Guide to Unconventional Piano
Techniques (Henry Cowell, John Cage, Alan Hovhaness, George Crumb,
Alexandra Pierce). D.M.A. Dissertation, University of Maryland College
Park,2002.
Kostelanetz, Richard. “His Own Music”, Perspectives of New Music, Vol. 25, No.
1/2, 25th Anniversary Issue(Winter-Summer, 1987): 88-106.
. John Cage (ex)plain(ed). New York : Schirmer Books, 1996.
Lindsay, Jennifer. Javanese Gamelan: Traditional Orchestra of Indonesia. New
York : Oxford University Press, 1979.
Mauceri, Frank X. “From Experimental Music to Musical Experiment”,
Perspectives of New Music, Vol. 35, No. 1(Winter, 1997): 187-204.
Montague, Stephen. “John Cage at Seventy: An Interview”, American Music, Vol. 3,
No. 2(Summer, 1985): 205-216.
Morgan, Robert P. Twentieth-Century Music: A History of Musical Style in Modern
Europe and America. New York : Norton, 1991.
. Modern Times : from World War I to the Present. Houndmills,
Basingstoke, Hampshire : Macmillan, 1993.
Nicholls, David. John Cage. Urbana : University of Illinois Press, 2007.
39
Patterson, David Wayne. John Cage: Music, Philosophy, and Intention, 1933-1950.
New York : Garland Pub., 2002.
Pritchett, James. The Music of John Cage. New York : Garland Pub., 2002.
Rhodes, Carol. The Dance of Time: The Evolution of Structural Aesthetics of the
Prepared Piano Works of John Cage. D.M.A. Dissertation, The University of
Arizona, 1995.
Salzman, Eric. Twentieth-Century Music: An Introduction. Englewood Cliffs, N.J. :
Prentice-Hall, 1988.
Saxon, Kenneth Neal. A New Kaleidoscope: Extended Piano Techniques, 1910-1975.
D.M.A. Dissertation, The University of Alabama, 2000.
Schwartz, Elliott. ” Directions in American Composition since the Second World
War Part I: 1945-1960”, Music Educators Journal, Vol. 61, No. 6(Feb., 1975):
28-39.
Siegel, Marcia. “Liminality in Balinese Dance”, TDR(1988-), Vol. 35, No. 4(Winter,
1991): 84-91.
Simms, Bryan R. Composers on Modern Musical Culture : an Anthology of
Readings on Twentieth-century Music. New York : Schirmer Books, 1999.
Sorrell, Neil. A Guide to the Gamelan. Portland, Or. : Amadeus Press, 1990.
Swed, Mark. “John Cage: September 5, 1912-August 12, 1992”, The Musical
Quarterly, Vol. 77, No. 1(Spring, 1993): 132-144.
Szabolcsi, Miklós. “Avant-Garde, Neo-Avant-Garde, Modernism: Questions and
Suggestions”, New Literary History, Vol. 3, No. 1,Modernism and
Postmodernism: Inquiries, Reflection, and Speculations(Autumn, 1971): 49-70.
The New Grove Dictionary of Music and Musician, s. v.”Cage, John” by James
Pritchett and Laura Kuhn.
中文書目
李美文。 《從演奏法觀點探討喬治克倫姆六首鋼琴獨奏曲》。 台北：華泰文化事業股份有限公司，2000。
許萓婷。 《初探美國二十世紀非傳統鋼琴技巧：以柯維爾、凱基、克倫姆之作品為例》。 碩士論文，國立中山大學音樂研究所，2005。
陳育玲。 《約翰•凱吉為前置鋼琴的奏鳴曲與間奏曲之研究》。 碩士論文，國立中山大學音樂研究所，2008。
網路資源
汪雅婷。 《論約翰•凱吉之預置鋼琴與印尼甘美朗音樂之相似處》。 網頁：http://homepage.ntu.edu.tw/~gim/2005forum/13.pdf