This study aims to discuss the new piano techniques employed by an American composer Henry Cowell, John Cage, and George Crumb in their piano works along with the analysis of their selected piano compositions. From the first half of the twentieth centuries, contemporary composers have been discovering that the piano is capable of producing a constanthy expanding array of new sonorities. Some of these are produced by the manipulation of the strings by plucking, strumming and muting. Also, the use of tone clusters, and the introduction of foreign objects on the strings of piano, and the use of contact microphones placed on the sounding board. These techniques add a new dimension to the total sonority of the piano. The enlarged spectrum of colors has brought not only novelty to piano music, but also a fundamental change in the concept of piano sound. The origins of some of these non-traditional techniques can be traced historically. American composers have had a significant role in these new developments. Many composers such as Charles Ives, Henry Cowell, and John Cage, George Crumb found that the piano is capable of producing a diversified new sound and unusual timbres. All of these composers, if in varying degrees, manifest a marked experimental strain. They share an interest in exploring new musical terrain and an urge to break free from what they perceivede as the outworn artistic heritage of western cultures, to rejuvenate an old and exhausted tradition with something fresh and youthful.

서문 
제1장 헨리 카우웰의 피아노 음악 
제2장 존 케이지의 프리패어드 피아노 음악 
제3장 조지 크럼의 피아노 음악 
결론 
참고문헌

• 이영희