What Allingham shows is that songs are most effective when their writers embrace the limitations their medium presents, and cannily exploit these to draw attention to their project’s artifice.
Converting the act of mourning to something as abstract as a piece of instrumental music serves to further isolate it from death itself. Bradbury skips a step or two: the March IS death.
Looking at a given artist’s self-portraits over time, it’s impossible to focus on the changing image of a self, without wondering about the forces that changed that person. Vincent Van Gogh comes to mind, before and after cutting off his ear. Levè bucks this mentality.