Here's another analysis pursuing the same line of argument as with the Schumann. It is a real challenge to situate an abstract model with real pieces. But I think here, there are definite things to point to. The prolongation of moments through disruption and coercion, and in the larger-scale structure, those prolongations relate to one another in larger-scale coercions. I don't think there's much exhortation. This is because the piece does not reveal its essence clearly (unlike the Schumann). It has to be something more abstract, created by the listener. I think essence and expectation (exhortation) are closely linked with this sort of music. Only by having this link can the exhortations and coercions leave the listener viable in this context.
Where a piece reveals its essence clearly, the means by which the essence is prolonged can be processed and the listener remain viable in the context (as in Schumann).
What is revealing of essence? Structural coupling? between the piece (model of the piece) and personal identity? Not sure. Feeling very anti-maturana at the moment.
Essence is certainly the ability to manage excess variety in the perception process. Where it can be managed, essence is maintained - it is to our 'taste'. Where it can't, it isn't and we withdraw.