Editing Paradigmatic analysis (section)

==Applied to music==
In music, paradigmatic analysis was a method of [[musical analysis]] developed by [[Nicolas Ruwet]] during the 1960s but later named by others. It is "based on the concept of '[[Equivalence class (music)|equivalence]]'. Ruwet argued that the most striking characteristic of musical syntax was the central role of ''[[Repetition (music)|repetition]]'' – and, by extension, of varied repetition or ''[[Transformation (music)|transformation]]'' (Ruwet 1987)" (Middleton 1990/2002, p.&nbsp;183).

Paradigmatic analysis assumes that [[Roman Jakobson]]'s description of the poetic system (1960, p.&nbsp;358) applies to music and that in both a "projection of the principle of equivalence from the axis of selection on to the axis of combination" occurs. Thus paradigmatic analyses are able to base the assignment of units entirely on repetition so that "anything repeated (straight or varied) is defined as a unit, and this is true on all levels," from sections to phrases and individual sounds (Middleton, ''ibid'').