Editing Musical analysis (section)

==Techniques==
Many techniques are used to analyze music. [[Metaphor]] and figurative description may be a part of analysis, and a metaphor used to describe pieces, "reifies their features and relations in a particularly pungent and insightful way: it makes sense of them in ways not formerly possible."{{sfn|Guck|1994|loc=71}}{{Failed verification|date=September 2018|reason=Guck does not mention 'metaphor', she only speaks of 'portentous' C-flats.}} Even [[absolute music]] may be viewed as a "metaphor for the universe" or nature as "perfect form".<ref>{{harvnb|Dahlhaus|1989|loc=8, 29}} cited in {{harvnb|Bauer|2004|loc=131}}</ref>

===Discretization===<!-- This section is linked from [[Note]] -->
The process of analysis often involves breaking the piece down into relatively simpler and smaller parts. Often, the way these parts fit together and interact with each other is then examined. This process of [[discretization]] or segmentation is often considered, as by [[Jean-Jacques Nattiez]],{{sfn|Nattiez|1990}} necessary for music to become accessible to analysis. [[Fred Lerdahl]]{{sfn|Lerdahl|1992|loc=112–113}} argues that discretization is necessary even for perception by learned listeners, thus making it a basis of his analyses, and finds pieces such as ''[[Artikulation (Ligeti)|Artikulation]]'' by [[György Ligeti]] inaccessible,{{sfn|Lerdahl|1988|loc=235}}{{Verify source|date=September 2024|reason=According to the version on Oxford Academic, Ligeti is mentioned on p. 239 and the word "inaccessible" is mentioned on pp. 234, 251. I don't see anything particularly relevant on what it labels as p. 235.}} while Rainer Wehinger{{sfn|Wehinger|1970}} created a "Hörpartitur" or "score for listening" for the piece, representing different sonorous effects with specific graphic symbols much like a [[Transcription (music)|transcription]].

===Composition===
Analysis often displays a compositional impulse while compositions often "display an ''analytical'' impulse"{{sfn|BaileyShea|2007|loc=[8]}} but "though intertextual analyses often succeed through simple verbal description there are good reasons to literally compose the proposed connections. We actually ''hear'' how these songs [different musical settings of Goethe's "Nur wer die Sehnsucht kennt"] resonate with one another, comment upon and affect one another ... in a way, the music speaks for itself".{{sfn|BaileyShea|2007|loc=[7]}} This analytic bent is obvious in recent trends in popular music including the [[mashup (music)|mash-ups]] of various songs.{{sfn|BaileyShea|2007|loc=[8]}}