The second is a more modern interpretation of painting with sound, developed by Morton Feldman in the 1960s. Strauss’ conception was narrative; there was always a clear storyline behind the pieces he wrote in this style. Feldman used the painting metaphor as a way of creating a sense of timelessness and texture in his compositions. The first is closer to a figurative painting while the latter is abstract. Scandinavian Knitting incorporates both of these ideas. One can hear a programatic piece that is simultaneously imbedded in abstract musical materials and functions. Based on actual traditional knitting patterns, the textures and orchestral shapes are repeated and interwoven into the orchestra like a handmade Norwegian sweater turned inside out. Musical objects are repeated, exchanging their positions relative to each other, and create unpredictable cumulative patterns.