||In 1910s, composers in America such as Ives and Cowell started to explore the possibilities of traditional piano playing techniques. They intended to incorporate some extended techniques in traditional techniques. Techniques were not confined to keyboard playing but also playing inside the piano. They thought all the sounding probabilities of piano and tried their best to generate new sounds and special sounding effects. These non-traditional techniques include special playing techniques on keyboard and strings, add in human voices, tapping on piano frame and use of foreign objects into the piano. This paper emphasizes on special playing on keyboard, playing in strings of non-traditional techniques and prepared piano. Using Cowell’s three piano pieces：The Tides of Manaunaun, Aeolian Harp and The Banshee；Crumb’s piano work A Little Suite for Chrismas,A.D.1979,1980 and Cage’s prepared piano piece Mysterious Adventure as examples to explain the usages and practice methods of these non-traditional techniques, and the interpretation of these piano works.|
The first chapter indicates 20th century American composers’ concepts on non-traditional techniques and their development. The second chapter confers the mechanism of non-traditional techniques and their requirements in piano playing. Non-traditional techniques include keyboard playing and string playing. Keyboard playing contains sounding clusters and silent clusters. String playing comprises plucking, glissando on strings, scrape strings, martellato, muting sounds and harmonics. The Third Chapter provides the concept of prepared piano and its usage. There will be a summary of the research in the end of the paper.