nagoya marimbas electric counterpoint nagoya marimbas ... · pdf filesteve reich’s phase...

Steve Reich’s Phase Music Reconsidered2014 SMT Meeting, Milwaukee, WISean Atkinson, Texas Christian Universitysean.atkinson@tcu.edu | @seanatki

Example 1. Measures 11–12, Nagoya Marimbas

Example 2. Harmonic reduction of mm. 11–12, Nagoya Marimbas

Example 3. Harmonic reductions aligned at bT6, Nagoya Marimbas

Example 4. Harmonic reductions aligned at bT3, Nagoya Marimbas

Example 5. Long-range tonal plan, Nagoya Marimbas Example 9. Q1 and bT-4(Q1), Electric Counterpoint, I

Example 10. Q1 with bT2(Q1) and bT-1(Q1), Electric Counterpoint, II

bT-4(Q1)

bT2(Q1)

bT-1(Q1)

Selected BibliographyCohn, Richard. 1992. “Transpositional Combination of Beat-Class Sets in Steve Reich’s Phase-Shifting Music.” Perspectives of New Music 30.2: 146-77.Quinn, Ian. 1997. “Fuzzy Extensions to the Theory of Contour.” Music Theory Spectrum 19: 232-63.Roeder, John. 2003. “Beat-Class Modulation in Steve Reich’s Music.” Music Theory Spectrum 25/2: 275-304.Warburton, Dan. 1988. “A Working Terminology for Minimal Music.” Intégral 2: 135-59.Woodley, Ronald. 2007. “Steve Reich’s Proverb, Canon, and a Little Wittgen-stein.” Canons and Canonic Techniques, 14th-16th Centuries: Theory, Prac-tice, and Reception History (Proceedings of the International Conference, Leuven, 4-6 October 2005). Leuven: Peeters, 457-81.

Example 6. Melody and harmonic reduction, ms. 39, Nagoya Marimbas

Example 7. Melody and harmonic reduction, ms. 47, Nagoya Marimbas

Example 8. Melody and harmonic reduction, ms. 66, Nagoya Marimbas