Liszt’s symphonic poems have often been analyzed in terms of entirely musical (i.e. absolutist) analytical paradigms such as sonata form, thematic transformation, chromatic harmony, etc. An examination of musical and extra-musical (i.e. programmatic or symbolic) compositional processes reveals the presence of at least three meta-analytical paradigms: stylistic consistency as well as development, especially in terms of Liszt’s use of keys and key signatures; forms of extra-musical referentiality, including topicality; and the presence of structural and expressive gestures associated with the keyboard fantasy tradition. Among the works discussed is Ce qu’on entend sur la montagne, also known as the “Mountain Symphony” and Liszt’s first symphonic poem in order of publication.