Editing Musical analysis (section)

===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]].