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In response, questioned the equivalence made by Ruwet between phoneme and the single note. He also suggested that, if analysis of and , "performed with sufficient insight", were to be made from the point of view of —taking into account the dynamic interaction of the different component phenomena, which creates "waves" that interact in a sort of —this analysis "would accurately reflect the realities of perception". This was because these composers had long since acknowledged the lack of differentiation found in punctual music and, becoming increasingly aware of the laws of perception and complying better with them, "paved the way to a more effective kind of musical communication, without in the least abandoning the emancipation that they had been allowed to achieve by this 'zero state' that was punctual music". This was achieved, amongst other things, by the development of the concept of "groups", which allows structural relationships to be defined not only between individual notes but also at higher and higher levels, up to the overall form of a piece. This is "a structural method par excellence", and a sufficiently simple conception that it remains easily perceptible (, 104–105, 114–15). Pousseur also points out that serial composers were the first to recognize and attempt to move beyond the lack of differentiation within certain pointillist works (, 125). Pousseur later followed up his own suggestion, by developing his idea of "wave" analysis and applying it to Stockhausen's in two essays, and .
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Igor Stravinsky's adoption of twelve-tone serial techniques offers an example of the level of influence that serialism had after the Second World War. Previously Stravinsky had used series of notes without rhythmic or harmonic implications (). Because many of the basic techniques of serial composition have analogs in traditional counterpoint, uses of inversion, retrograde and retrograde inversion from before the war are not necessarily indicative of Stravinsky adopting Schoenbergian techniques. However with his meeting and acquaintance with younger composers, Stravinsky began to consciously study Schoenberg's music, as well as the music of Webern and later composers, and began to use the techniques in his own work, using, for example, serial techniques applied to fewer than twelve notes. Over the course of the 1950s he used procedures related to Messiaen, Webern and Berg. While it is difficult to label each and every work as "serial" in the strict definition, every major work of the period has clear uses and references to its ideas.