Steve Reich’s Phase Music Reconsidered 2014 SMT Meeting, Milwaukee, WI Sean Atkinson, Texas Christian University [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 bT 6 , Nagoya Marimbas Example 4. Harmonic reductions aligned at bT 3 , Nagoya Marimbas Example 5. Long-range tonal plan, Nagoya Marimbas Example 9. Q1 and bT -4 (Q1), Electric Counterpoint, I Example 10. Q1 with bT 2 (Q1) and bT -1 (Q1), Electric Counterpoint, II bT -4 (Q1) bT 2 (Q1) bT -1 (Q1) Selected Bibliography Cohn, 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