摘 要 凱吉為二十世紀重要的作曲家之一，其作品的表現類型多樣化，除了發展個人的作曲特色之外，更運用傳統的理念以及各種不確定性。本論文研究目的，主要是探討凱吉階段性的作曲過程，並深入分析《為前置鋼琴的奏鳴曲與間奏曲》創作手法，進一步定位其創作的獨特性。
本論文探討的內容除緒論外，共分為四章。第一章概述二十世紀美國社會環境對於音樂的推動，以及不同作曲家對於凱吉想法的影響；第二章針對不同時期和各類型的前置鋼琴作品，探討其創作特色與延續過程；第三章則詳細分析《為前置鋼琴的奏鳴曲與間奏曲》二十首作品，分別探討創作手法與特色。第四章則為結論，歸納先前的討論，並整理凱吉對音樂史上的貢獻。
凱吉這二十首前置鋼琴作品，不僅在鋼琴或西方音樂史上，佔有重要的地位，其作品中使用時間單位比例以及大小宇宙的架構，都突破了傳統的創作手法。這一系列的作品，既是所有作品延續的精華，也是定位凱吉在中期與後期的轉變，反應出過渡時期的重要特色，更為往後各類型音樂的領域，提供重要的貢獻。

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.

緒論 ......................................................................................................1
第一章 現代美國音樂社會環境與凱吉 .........................................9
第一節 二十世紀美國音樂社會環境 ................................................10
第二節 凱吉音樂理念的發展 ............................................................13
第三節 凱吉與其他作曲家的互動和影響 .............................................21

第二章 凱吉作品內涵之論述 ...............................................................34
第一節 不同時期作品創作 ................................................................34
第二節 前置鋼琴作品形成與延續 ......................................................49

第三章 《為前置鋼琴的奏鳴曲與間奏曲》作品分析 ...........................81
第一節 確定性(Determinacy)的表現 ......................................................81
第二節 確定性中的不確定性(Indeterminacy)表現 ....................................105

第四章 結論 ...........................................................................................126
附錄一 .......................................................................................................134
參考書目 .................................................................................................136

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