The stream of consciousness can be explained by the dialectical processes at work, but only up to a point, and the suggestion of many of Adorno’s adherents to the effect that the critic-philosopher fetishized this particular aspect of the process can seem real enough. Adorno is struck above all by the “concentration of accents and time relationships” in Stravinsky’s music. Stravinsky’s displaced accents resist assimilation. The descriptions and characterizations are Adorno’s, as has been suggested, while the outline converts both the description and the characterization into actual features of the music, features that are then connected in the form of an explanatory path. Literalness in the repetition of a fragment acts as a counterforce, too, a way of referring the listener back to the fragment’s original placement. Stravinsky’s notation will tend to reflect one or the other of these responses. A displacement is felt not in isolation, obviously, but as it relates to previously established placements.