This paper develops an analytical methodology that allows one to analyze motives with attention to musical linearity over spans of varying lengths. Building on Hanninen's (2012) tools for contextual association and segmentation, this paper separates portrait and temporal stances for motivic analysis. A portrait stance is one that approaches a piece of music as a completed whole, while a temporal stance is one in which musical ideas accrue meaning from and are influenced by all music that came before. I define motivic transference as an association between instances of a motive and the intervening music based on musical chronology and supported by temporal criteria. This paper outlines three conditions that must be satisfied to analyze motivic transference and, through examples from Julia Perry's Stabat Mater, illustrates that transference broadens our understanding of motivic recurrence and provides analytical justification for motivic relationships between heterogenous material.