Largely popularized by Steve Reich's "phasing" works (Piano Phase [1972], Violin Phase [1967], etc.), phasing techniques have now become a common methodology within contemporary music circles as a way to generate musical ideas from a limited amount of source materials. This article attempts to establish generalizations based on observations of the technique, both in theory and in practice. The theories listed here have been shown to be reproducible and consistent regardless of its musical context -- therefore can be reasonably concluded that the generative method of phasing adheres to certain technical rules that make it possible to understand it in terms of a formulaic process.
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