Abstract
A major structural feature of Conlon Nancarrow’s tempo canons, in which canonic material moves at different speeds in different voices, is the places where the musical lines converge to a simultaneous attack. These convergence points can vary in importance and function, and, depending on the type of canon being used in the piece, there may be only one or two convergence points per piece, or many. This paper considers the work of Nancarrow scholars such as Kyle Gann, Margaret Thomas, and the current author, examines the features of convergence points in Nancarrow’s tempo canons, and illustrates the many ways they are used in his Studies for Player Piano. Attention is also paid to compositional choices made by Nancarrow regarding where opportunities for convergences would occur (i.e., points of simultaneity), and how these might be manipulated, emphasized, de-emphasized, or avoided. The discussion of convergence points leads to an analysis of Study No. 27, Nancarrow’s last acceleration canon.
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