Steve Reich’s Phase Music Reconsidered2014 SMT Meeting, Milwaukee, WISean Atkinson, Texas Christian [email protected] | @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
