Editing Musical analysis (section)

===Perceptual analysis===
On the other hand, Fay argues that, "analytic discussions of music are often concerned with processes that are not immediately perceivable. It may be that the analyst is concerned merely with applying a collection of rules concerning practice, or with the description of the compositional process. But whatever he [or she] aims, he often fails—most notably in twentieth-century music—to illuminate our immediate musical experience,"{{sfn|Fay|1971|loc=112}}{{incomplete short citation|date=October 2021}} and thus views analysis entirely from a perceptual viewpoint, as does [[Edward T. Cone]], "true analysis works through and for the ear. The greatest analysts are those with the keenest ears; their insights reveal how a piece of music should be heard, which in turn implies how it should be played. An analysis is a direction for performance,"{{sfn|Cone|1960|p=41}} and Thomson: "It seems only reasonable to believe that a healthy analytical point of view is that which is so nearly isomorphic with the perceptual act."{{sfn|Thomson|1970|loc=196}}