to some extent, what people perceive depends on what they expect to perceive. L. David Ritchie proposes that communication creates relationships between what is perceived or known by one person and what is perceived or known by others; the form of the communication will be determined in part by whether there are pre-existing relationships between the communicator and the audience. The receiver and originator of a message must work from some common understanding of what sorts of patterns are used to communicate and how these patterns are related to other events. Communication has to do with community both in the sense that it relies on having something in common in the first place and in the sense that it can influence what the communicants subsequently have in common. 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'. Ruwet argued that the most striking characteristic of musical syntax was the central role of repetition – and, by extension, of varied repetition or transformation (Ruwet 1987)" (Middleton 1990/2002, p. 183). Paradigmatic analysis assumes that Roman Jakobson's description of the poetic system (1960, p. 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). Notes References Middleton, Richard (1990/2002). Studying Popular Music. Philadelphia: Open University Press. . Musical analysis Symbolism