For example, the wall, window, roof, the ground floor must join together to create a house, just as the bricks must join together to create the wall. This is because compounds of sensation arising from a musical stimulus 'equally possess sections or framing forms'. Of course, an entire symphony is not interpreted solely on its completion, it is subject to ongoing temporal blocs of cognition throughout its performance - these cognitive blocs arise from the differing musical frames inherent in the work itself. Such a conception of sound undermines the populist notion of a linear 'flow of music'. A composer's objective is to use these differing frames of mmusical expression to create a theme , a continuity in the piece.
Music then is a deterritorialization of frame and theme - of closure and opening.
The deterritorialization produces an ambiguity which, as Rapp suggests, stimulates the strange attractor in the listener's brain. Such stimulation accounts for music's emotive effect on the brain. These movements act as frames within 'the great refrain'. But this separation or 'closure' is off-set by Mozart use of text. Pius V's decision to prescribe a text for use in the requiem mass left little artistic freedom to the composer.