ABSTRACT
The man's identity as a positive force is eventually revealed as a delusion of madness, setting the angelic against the demonic. The author focuses on how the music thinks obsessively through cultural memory. The transition music-which she refers as Passing, since it passes from the Tarantella section to the Wayfaring Stranger section-reasserts the triple meter first occurring with the waltz. The grouping arcs show three sections: Agitated Dancing, Nostalgic Remembering, and Obsessing. The music of these sections invokes various music-cultural memories through the tarantella and waltz allusions and Wayfaring Stranger quotations. Here she maps in more detail the musical things of the movement, their cultural invocations, and their roles in sound-thinking the incessance of memory. The music of the Nostalgic Remembering section remembers the tune and its cultural resonances in a specific act of collective memory that serves the larger musical trajectory of the movement.
