Harmonic and Non-Harmonic Temporal Structures in Nancarrow’s Study No. 47 for Player Piano

Abstract

This article presents a critical score and a rhythmic analysis of Conlon Nancarrow’s Study No. 47 for player piano. A work representative of the composer’s technical and aesthetic interests in his late productive years, Study No. 47 has been available only on recording until now. The score is based on both Nancarrow’s short-handed manuscript of the piece—the so-called punching score —and his original player-piano roll. Merging information from both sources, it introduces a new type of notation—combining both traditional and graphic aspects—especially developed for Nancarrow’s late output. The score and the analysis are preceded, and contextualized, by a discussion on the development of Nancarrow’s temporal thinking both theoretically, under the influence of Henry Cowell, and practically through his sustained and exclusive work for decades with the player piano. Special attention is given to Nancarrow’s usage of tempo templates , with a proposed classification into harmonic and non-harmonic . Study No. 47 is also framed historically within the context of five other related pieces, all associated at some point with Study No. 45.