Aspects of Ida y Vuelta in music about Mermaids

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Aspects of Ida y Vuelta in music about Mermaids
Aspects of
Ida y Vuelta
in music
about
Mermaids
Transformation in Returning
“and therefore she
returned home,
always more
sorrowful than
before”
Hans Christian
Andersen (1836)
Aspects of Ida y Vuelta
●
Place (sea – and cave – or lake or land or air)
●
Space (fourth dimension, personal space)
●
Topos (Aristotle, different utopia’s, heterotopia)
●
Locus (vs Topos and as locus classicus)
●
Identity (by relationships / “otherness”)
●
Heimwee, Fernwee, Hinauswee
All coming together in ‘Unhomeliness’ How to track the Mermaid change?
●
●
●
Analysis of the story and the musical layers
* Textual analysis (Russian Formalism / Wirkungsgeschichte)
* Film scolars: Eric Rentschler / Anton Kaes / Rick Altman / Steve Neale / Anahid Kassabian / Claudia Gorbman
Analysis of the music and the musical history
* Musical analysis (harmonical / dynamical / instr. a.o.)
* Musicologists: Richard Taruskin a.o.
Theoretical framing of Unhomeliness
* Philosophers: Michel Foucault a.o. * Homi Bhabha (critical theorist)
* Theologists George Eldon Ladd e.o. (framing heaven / limbo / soul sleep a.o.)
Русалка
(1856)
Александр Даргомыжский (1813­1869)
Miller’s Aria
Rusalka
(1901)
Antonín Dvořák
(1841-1904)
Song to the Moon

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