"Lorelei"

In "Lorelei," the parallelism in the line "Call out to nobody, call out to me" equates "nobody" with "me," which is about the same value that the narrator gives to himself in lines like "I was like trash on the sidewalk" and "I was old news to you."

The line "Old news, old news to you then" is repeated at the end of each verse, and this repetition makes the line itself like "old news."  The melody to which these "old news"s are sung is something like:

(I guessed on the key.)

In all but the last measure, the rhythm consists of two eighth notes and one half note, and there are only two pitches, so even musically, this phrase is repetitive.

It does change, however, after the line "Fell for the ruse with you then."  It's as if the music itself was tricked, and it becomes something like:

"Helplessness Blues"

In order to reflect being "unique / Like a snowflake, distinct among snowflakes" at the beginning of "Helplessness Blues," there's only one voice and one guitar.  After the lines "I'd rather be / A functioning cog in some great machinery / Serving something beyond me," a second voice, a second guitar, and harmonium are introduced in order to illustrate the opposite view.  Later, this second guitar drops out before the line "If I know only one thing," so again there's a sense of singularity.

The strumming in the guitar parts also corresponds to the number.  For the most part, if there's only one guitar, the strums are downward, and if there are two, the strums are upward and downward.

"Sim Sala Bim"

To represent "Then the earth shook..." in "Sim Sala Bim," violin tremolos begin.

The lines "Remember when you had me cut your hair? / Call me Delilah then I wouldn't care" allude to Samson and Delilah in Judges 16.

"Bedouin Dress"

Coinciding with "return" in the line "Ev'rything I took I'd soon return" in "Bedouin Dress," more instruments come in, and the dynamics increase, as if to reflect that "return[ing]" of "ev'rything."