Editing Musical analysis (section)

===Intermediary analyses===
Nattiez lastly proposes intermediary models "between reductive formal precision, and impressionist laxity." These include Schenker, Meyer (classification of melodic structure),{{sfn|Meyer|1973|loc=chapter 7}}{{incomplete short citation|date=October 2021|reason=Which Meyer 1973?}} Narmour, and Lerdahl-Jackendoff's "use of graphics without appealing to a system of formalized rules," complementing and not replacing the verbal analyses. These are in contrast to the formalized models of [[Milton Babbitt]]{{sfn|Babbitt|1972}} and [[Benjamin Boretz|Boretz]].{{sfn|Boretz|1969}} According to Nattiez, Boretz "seems to be confusing his own formal, logical model with an immanent essence he then ''ascribes'' to music," and Babbitt "defines a musical theory as a hypothetical-deductive system ... but if we look closely at what he says, we quickly realize that the theory ''also'' seeks to legitimize a music yet to come; that is, that it is also normative ... transforming the ''value'' of the theory into an aesthetic ''norm'' ... from an anthropological standpoint, that is a risk that is difficult to countenance." Similarly, "Boretz enthusiastically embraces logical formalism, while evading the question of knowing how the data—whose formalization he proposes—have been obtained".{{sfn|Nattiez|1990|loc=167}}