This surrealism is further differentiated from a fourth type of music, the so-called Gebrauchsmusik of Paul Hindemith and Hanns Eisler, which attempts to break through alienation from within itself, even at the expense of its immanent form (Adorno 2002, 396–97).
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It is one of Dylan's major works of the 1980s and has surrealistic lyrics which differ from Dylan's earlier surrealistic songs such as "Desolation Row" and "Visions of Johanna".