• MONTAGE AND CONTEXTURE - “Das Himmlische Leben” and the Third and Fourth Symphonies
• The Kuleshov Effect
• Lullaby
• “Das irdsche Leben”
• The Third Symphony
• “Es sungen drei Engel”
• The Motivic Design of the Extended Narrative
• The Fourth Symphony
• “Der hangt voll Geigen”

REPRESENTING ALIENATION: “ABSOLUTE MUSIC” AS A TOPIC - Des Antonius von Padua Fischpredigt” and the Second Symphony
• Sybil: Classical Music and Alienation
• Between Song and Program
• “Des Antonious von Padua Fischpredigt”
• “In ruhig fliessender Bewegung”
• “As if Deformed by a Concave Mirror”
• “Absolute Music” as a Topic
• Representing alienation

THE AUTONOMY OF MUSICAL PRESENCE - “Ablosung im Sommer” and the Third Symphony
• Songs into Symphonies
• “Ablosung im Sommer”
• “Der Postillion”
• “What the creatured of thee Forest Tell me”
• What the creatures of the forest hear
• Incompatible Visions of the Forest
• “Absolute Music” and narrative identity

SUBJECTIVITY AND SELFHOOD - Leidr cines fahrenden Geselen and the First Symphony
• Subjectivity…
• Song cycles into Symphony
• “Spring and No End”
• Commedia humana
• … And Selfhood (Subjectivity Objectified)

BEYOND SELFHOOD: THE AUTONOMY OF MUSICAL PRESENCE

EPILOGUE: RECLAIMING CHIDHOOD IN THE FOURTH SYMPHONY
• Why Childhood?
• Sleigh Bells
• The First Movement
• Freund Hein
• The Second Movement
• Child Love, Child Death