TWO OBSERVATIONS together only because I wrote them in pencil in the end-papers of a book. (Middlemarch by George Eliot):
These wispy things—clouds—gathering around the hard geometry of the city buildings and their silhouettes. (As seen from my roof.)
Mahler 9th, first movement: The simplicity of the surface-level melody forces the increasing intensities of the orchestra counterpoint. That is, the surface melody is Mahler’s “earworm? Did he have (suffer from) them? How would we know? Just what is an earworm? If he had them, were they vernacular borrowings or original , possibly, or not (interesting—this) inspired by vernacular.