Music and Time Annotation << Back Lena Christolova Pr&#228;parierte Kl&#228;nge und Stille im Werk von John Cage A.N. Lipov In the confrontation between graphic art, signification and the media of the time, the encounter between the American composer John Cage and the pioneer of German absolute cinema Oskar Fischinger (1937) is considered one of their primordial scenes. Fischinger's idea of the inherent properties of the material in the creation of sound accompanies Cage in his experiments with sounds and sounds as a supposed expansion of the available musical material. In addition to furniture, screws and pieces of rubber for his "prepared piano", Cage also includes the sounds of everyday life in his avant-garde art, anticipating the subsequent erasure of the boundaries between artistic media and "life media" by the artists of "Fluxus". In the process of blurring the boundaries between sound and noise, between music and silence, his compositions, supported by rhythm and time, reveal discrepancies between notations, interpretive freedom and listening experiences, as demonstrated in Cage's pieces 4'33" (1952) and 0'00" (1961). The translated scientific article highlights Cage's role in expanding musical boundaries and as a forerunner of conceptual art, and analyzes the significance of his experiments with the "prepared piano" as one of the most striking examples of his innovation and contribution to the development of musical art. Keywords: Medienwissenschaft, John Cage, technische Medien, präpariertes Klavier. DOI: 10.25791/music.4.2026.1403 Pp. 03-08.