Editing Structure (section)

== Musical ==
{{see also|Musical form}}
[[File:ChopinOp28no6.png|thumb|right|A motif from the [[Preludes (Chopin)|Preludes by Chopin]], Op. 28 no.6, bars 1–3]]
A large part of [[numerical analysis]] involves identifying and interpreting the structure of musical works. Structure can be found at the level of part of a work, the entire work, or a group of works.<ref name=analysis>{{cite encyclopedia |first1=Ian D. |last1=Bent |first2=Anthony |last2=Pople |title=Analysis |encyclopedia=Grove Music Online. Oxford Music Online |publisher=Oxford University Press |access-date=October 5, 2015 |url=https://www.oxfordmusiconline.com/subscriber/article/grove/music/41862 |archive-date=June 14, 2024 |archive-url=https://web.archive.org/web/20240614043727/https://www.oxfordmusiconline.com/grovemusic/display/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000041862 |url-status=live }}</ref> Elements of music such as [[Pitch (music)|pitch]], [[Duration (music)|duration]] and [[timbre]] combine into small elements like [[Motif (music)|motifs]] and [[Phrase (music)|phrases]], and these in turn combine in larger structures. Not all music (for example, that of [[John Cage]]) has a [[hierarchical organization]], but hierarchy makes it easier for a listener to understand and remember the music.<ref name=Meyer>{{cite book|last1=Meyer|first1=Leonard B.|title=Explaining music : essays and explorations.|date=1973|publisher=Univ. of California Press|location=Berkeley|isbn=9780520022164}}</ref>{{rp|80}}

In analogy to [[linguistics|linguistic]] terminology, motifs and phrases can be combined to make complete musical ideas such as [[sentence (music)|sentences]] and [[phrase (music)|phrases]].<ref name=sentence>{{cite encyclopedia |title=Sentence |encyclopedia=Grove Music Online. Oxford Music Online |publisher=Oxford University Press |access-date=October 5, 2015 |url=https://www.oxfordmusiconline.com/subscriber/article/grove/music/25423 |archive-date=June 14, 2024 |archive-url=https://web.archive.org/web/20240614043719/https://www.oxfordmusiconline.com/grovemusic/display/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000025423 |url-status=live }}</ref><ref name=phrase>{{cite encyclopedia |title=Phrase |encyclopedia=Grove Music Online. Oxford Music Online |publisher=Oxford University Press |access-date=October 5, 2015 |url=https://www.oxfordmusiconline.com/subscriber/article/grove/music/21599 |archive-date=June 14, 2024 |archive-url=https://web.archive.org/web/20240614043720/https://www.oxfordmusiconline.com/grovemusic/display/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000021599 |url-status=live }}</ref> A larger form is known as the [[Period (music)|period]]. One such form that was widely used between 1600 and 1900 has two phrases, an ''antecedent'' and a ''consequent'', with a half [[Cadence (music)|cadence]] in the middle and a full cadence at the end providing punctuation.<ref name=Stein>{{cite book|last1=Stein|first1=Leon|title=Anthology of Musical Forms: Structure & Style (Expanded Edition): The Study and Analysis of Musical Forms|date=1979|publisher=Alfred Music|isbn=9781457400940}}</ref>{{rp|38–39}} On a larger scale are single-movement forms such as the [[sonata form]] and the [[Counterpoint|contrapuntal form]], and multi-movement forms such as the [[symphony]].<ref name=Meyer/>