Editing Musical analysis (section)

===Analyses of the immanent level===
Analyses of the immanent level include analyses by Alder{{Citation needed|date=February 2024}}, [[Heinrich Schenker]], and the "''ontological'' structuralism" of the analyses of [[Pierre Boulez]], who says in his analysis of ''[[The Rite of Spring]]'',{{sfn|Boulez|1966|loc=142}}{{incomplete short citation|date=October 2021}} "must I repeat here that I have not pretended to discover a creative process, but concern myself with the result, whose only tangibles are mathematical relationships? If I have been able to find all these structural characteristics, it is because they are there, and I don't care whether they were put there consciously or unconsciously, or with what degree of acuteness they informed [the composer's] understanding of his conception; I care very little for all such interaction between the work and 'genius'."

Again, Nattiez argues that the above three approaches, by themselves, are necessarily incomplete and that an analysis of all three levels is required.{{sfn|Nattiez|1990|loc=138–39}} [[Jean Molino]]{{sfn|Molino|1975a|loc=50–51}}{{incomplete short citation|date=October 2021|reason=There is no Molino 1975a in the bibliography.}} shows that musical analysis shifted from an emphasis upon the poietic vantage point to an esthesic one at the beginning of the eighteenth century.{{sfn|Nattiez|1990|loc=137}}