Discographie

  • Conlon NANCARROW, Studies for Player Piano, intĂ©grale des Ɠuvres pour piano mĂ©canique, 5 cds Wergo, 2000.
  • Conlon NANCARROW, Quartets and studies, Quatuor Arditti, 1 cd Wergo, 2007, n° 6696 2.

Bibliographie

  • Charles AMIRKHANIAN, “Interview with Composer Conlon Nancarrow”, in Conlon Nancarrow, Selected Studies for Player Piano Soundings 4, ed. Peter Garland, Berkeley, Soundings Press, p. 7-24.
  • Helena BUGALLO, Selected Studies for Player Piano by Conlon Nancarrow: Sources, Working Methods, and Compositional Strategies, Ann Arbor, UMI Dissertation Services, 2004.
  • Clifton CALLENDER, “Formalized Accelerando: An Extension of Rhythmic Techniques in Nancarrow’s Acceleration Canons”, in Perspectives of New Music, vol. 39, n° 1, 2001, p. 188-210.
  • Philip CARLSEN, “Nancarrow, Conlon”, in The New Grove Dictionary of American Music, ed. H. Wiley Hitchcock and Stanley Sadie. Londres, Macmillan Press, New York, Grove’s Dictionaries of Music, 1986.
  • Philip CARLSEN, The Player-Piano Music of Conlon Nancarrow: an Analysis of Selected Studies, I.S.A.M. Monograph No. 26. Brooklyn, Institute for Studies in American Music, 1988.
  • Elliott CARTER, “The Rhythmic Basis of American Music”, The Score and I.M.A. Magazine, n° 12, juin 1955, p. 27-32.
  • Robert COMMENDAY, “The Man Who Writes for Player Piano”, San Francisco Chronicle, 30 juin 1981.
  • Eric DROTT, “Conlon Nancarrow and the Technological Sublime”, in American Music, vol. 22, n° 4, hiver 2004, p. 533-563.
  • Michael FINNISSY, “Almeida Festival: Nancarrow and Ives”, in Tempo, nouvelle sĂ©rie, n° 154, septembre 1985, Cambridge, Cambridge University Press, p. 45-46.
  • Michael FINNISSY, [article sans titre], Tempo, nouvelle sĂ©rie, n° 133-134, septembre, 1980, p. 85-86.
  • Monika FURST-HEIDTMANN, “Conlon Nancarrow und die Emanzipation des Tempo”, Neue Zeitschrift fĂŒr Musik, n° 7-8, 1989, p. 32-38.
  • Monika FURST-HEIDTMANN, “Conlon Nancarrow’s ‘Studies for Player Piano’/Time is the last frontier in music”, Melos n° 4, 1984, p. 104-22.
  • Monika FURST-HEIDTMANN, “Ich bin beim Komponieren nur meinen Wunschen gefolgt” [entretien avec Conlon Nancarrow], MusikTexte, n° 21, octobre 1987, p. 29-32.
  • Cole GAGNE, Tracy CARAS. “Conlon Nancarrow”, in Soundpieces: Interviews with American Composers, Metuchen, NJ, Scarecrow Press, 1982, p. 281-303.
  • Kyle GANN, The Music of Conlon Nancarrow, Cambridge, Cambridge University Press, 1995.
  • Kyle GANN, “Conlon Nancarrow: Study No. 25 for Player Piano”, in Settling New Scores: Music Manuscripts from the Paul Sacher Foundation, Felix Meyer, ed. Mayence, Schott Musik International, 1998, p. 171-173.
  • Kyle GANN, “Conlon Nancarrow’s Tempo Tornadoes”, Village Voice, New York, 5 octobre 1993, p. 93 et 97.
  • Kyle GANN, “A Feast of 16 Strings”, Village Voice, New York, 4 avril 1989, p. 71.
  • Kyle GANN, “Private Bells”, Village Voice, New York, 14 novembre 1989, p. 89.
  • Kyle GANN, “Piano Rolls and Fresh Mangos”, Village Voice, New York, 2 septembre 1997, p. 68-69.
  • Peter GARLAND, “Conlon Nancarrow: Chronicle of a Friendship”, in America: Essays on American Music and Culture (1973-1980), Santa Fe, Soundings Press, 1982, p. 157-185.
  • James R. GREESON, Gretchen B. GEARHART et Conlon NANCARROW, “Conlon Nancarrow: An Arkansas Original”, The Arkansas Historical Quarterly, vol. 54, n° 4, hiver 1995, p. 457-469.
  • Herbert HENCK et Monika FURST-HEIDTMANN, “Neues von Nancarrow”, Neuland n° 2, 1981-1982, p. 216-217.
  • Herbert HENCK et Monika FURST-HEIDTMANN, “Neues von Nancarrow”, Neuland n° 3 (1983), p. 247-250.
  • Herbert HENCK et Monika FURST-HEIDTMANN, “Neues von Nancarrow”, Neuland n° 5, 1985, p. 297-301.
  • JĂŒrgen HOCKER, “Begegnungen mit Nancarrow”, Neue Zeitschrift fĂŒr Musik, 2002, 284 p.
  • Jan JARVLEPP, “Conlon Nancarrow’s Study #27 for Player Piano Viewed Analytically”, Perspectives of New Music, n° 23/1-2, 1983-1984, p. 218-222.
  • Allan KOZZIN, “Conlon Nancarrow Dies at 84; Composed for the Player Piano”, in The New York Times, 12 aoĂ»t 1997.
  • Joan LABARBARA, “The Remarkable Art of Conlon Nancarrow”, Musical America, mai 1984, p. 12-13.
  • Minna LEDERMAN, The Life and Death of a Small Magazine (Modern Music, 1926-1946), I.S.A.M. Monograph, n° 18, Brooklyn, Institute for Studies in American Music, 1983.
  • Gordon MUMMA, “Briefly About Nancarrow”, in Conlon Nancarrow, Selected Studies for Player Piano, Soundings 4, ed. Peter Garland, Berkeley, Soundings Press, 1977, p. 1-5.
  • Gordon MUMMA, “Nancarrow Notes”, in Walter Zimmermann, Desert Plants, Vancouver: A.R.C. Publications, 1976, p. 247-251.
  • Conlon NANCARROW, “Mexican Music: a Developing Nationalism”, Modern Music, n° 19/1, novembre-dĂ©cembre 1941, p. 67-69.
  • Conlon NANCARROW, “Over the Air”, Modern Music n° 17/1, novembre-dĂ©cembre 1939, p. 55 ; n° 2, janvier-fĂ©vrier 1940, p. 115-116 ; n° 3 mars-avril 1940, p. 191-193 ; n° 4, mai-juin 1940, p. 263-265.
  • Conlon NANCARROW, “Unidentified Player-Piano-Roll Composition” [facsimile d’une partie du rouleau de Study No. 23], in  : John Cage, Notations, West Glover, Vt., Something Else Press, 1969.
  • Tim PAGE, “Music: Conlon Nancarrow”, in The New York Times, 21 avril 1986.
  • David PLACE, [article sans titre], Computer Music Journal, vol. 7, n° 1, printemps 1983, p. 71.
  • Peter QUINN, [article sans titre], Tempo, New Series, n° 220, avril 2002, Cambridge, Cambridge University Press, p. 49-50.
  • Roger REYNOLDS, “Conlon Nancarrow: Interviews in Mexico City and San Francisco”, American Music 2/2, Ă©tĂ© 1984, p. 1-24.
  • Roger REYNOLDS, “Inexorable Continuities
.: A Commentary on the Music of Conlon Nancarrow”, in Conlon Nancarrow, Selected Studies for Player Piano, Soundings 4, ed. Peter Garland, Berkeley, Soundings Press, 1977, p. 26-40.
  • John ROCKWELL, “Conlon Nancarrow: Poet of the Player Piano”, The New York Times, 28 juin 1981, p. 17-20.
  • Larry ROHTER, “Conlon Nancarrow, On a Roll”, The New York Times, 25 octobre 1987, section 2, p. 27.
  • Carter SCHOTZ, [article sans titre], Leonardo, vol. 25, n° 2, 1992, p. 231-232.
  • Robert K. SCHWARZ, “As Obscurity Turns to Absence, a Composer Thrives”, in The New York Times, 9 novembre 1997.
  • Nicolas SLONIMSKYl, “Complicated Problems – Drastic Solution”, The Christian Science Monitor, Boston, 10 novembre 1951, section B, p. 12.
  • Tim SOUSTER, “Conlon Nancarrow”, Neuland, n° 1-3, 1980, p. 131-133.
  • P. A. T. Untitled review in Music & Letters, vol. 33, n° 4, octobre 1952, Londres, Oxford University Press, p. 366.
  • James TENNEY, “Conlon Nancarrow’s Studies for Player Piano”, in Conlon Nancarrow, Selected Studies for Player Piano, Soundings 4, ed. Peter Garland, Berkeley, Soundings Press, 1977, p. 41-64.
  • Margaret E. THOMAS, “Nancarrow’s Canons: Projections of Temporal and Formal Structures”, in Perspectives of New Music, vol. 38, n° 2, Ă©tĂ© 2000, p. 106-133.
  • Margaret E. THOMAS, Untitled review in Journal of Music Theory, vol. 41, n° 2, automne 1997, Durham, Duke University Press, p. 330-340.
  • John WARNABY, [article sans titre], Tempo, nouvelle sĂ©rie, n° 189, juin 1994, Cambridge, Cambridge University Press, p. 49-50.
  • (s.n), “Nancarrow Prize”, The New York Times, 1er janvier 1982.

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