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Academic literature on the topic 'Mermaids in music'

Author: Grafiati
Published: 25 July 2024
Last updated: 30 July 2024

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Journal articles on the topic "Mermaids in music"

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Howard, Luke, and Tina Davidson. "I Hear the Mermaids Singing." American Music 18, no. 1 (2000): 112. http://dx.doi.org/10.2307/3052394.

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d'Inca, Elise. "Sirènes at autres ondines : représentations médiévales des figures aquatiques scandinaves." Studia Universitatis Babeș-Bolyai Philologia 68, no. 2 (June 25, 2023): 85–100. http://dx.doi.org/10.24193/subbphilo.2023.2.05.

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"Mermaids and Other Undines: Medieval Representations of Scandinavian Aquatic Figures. Without claiming to be exhaustive, this article compares the different aquatic figures of Scandinavian imagination, and the representations relating to Scandinavia, taking into account their cosmic aspect. This paper highlights the close connection of these creatures with time, weather and music, and the evolution of the representation of sea creatures that embody geography and climate, real or fantasized. These representations evolve, especially because of the important Christianization process that they undergo. With Christianization, these sea creatures tend towards demonization, and they’re influenced by Occidental representations, especially with those of the sirens of the Nibelungenlied. Scandinavian aquatic figures represent different dangers according to the type of water in which they live: salty, soft or marshy. According to their gender, the marine creatures which embody different risks are put in perspective in a comparative approach that links the Eddas and the stories reported by Xavier Marmier, especially Danish and Swedish. Thanks to the privileged bond these figures, emerging from the Edda, sagas and ballads, maintain with speech and music, their evolutions and their representations survive in the collective imagination related to Scandinavia. Keywords: Middle Age, Scandinavian literature, hybrid representations, mermaid, imaginary of the sea."
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Ergin, Murat. "On Humans, Fish, and Mermaids: The Republican Taxonomy of Tastes and Arabesk." New Perspectives on Turkey 33 (2005): 63–92. http://dx.doi.org/10.1017/s0896634600004246.

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This essay analyzes arabesk, a form of popular music in Turkey, as it pertains to debates around culture, politics, and modernity. I argue that arabesk, rather than being limited to discussions of music as an aesthetic form, reveals important issues as to the historical unfolding of discursive patterns that still very much outline the boundaries of cultural debates in Turkish society. The historic changes of arabesk music corresponds to turning points in the cultural and political history of Turkey. Furthermore, following the historical trajectory of arabesk makes it possible to analyze large-scale transformations in the ideological landscape of Turkey. In order to understand the complexity of these issues, it is important to trace the historical foundations of Turkish cultural politics, especially during the early Republican era (1920-1950), which was formative in establishing and maintaining an extensive regime of cultural classification.
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BRAMI, THOMAS. "Integrated Soundtracks, Sergei Eisenstein, and Man-Eating Mermaids that Sing." Music, Sound, and the Moving Image: Volume 14, Issue 1 14, no. 1 (July 1, 2020): 3–21. http://dx.doi.org/10.3828/msmi.2020.2.

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This article analyses the relationship between integrated soundtracks and genre through an examination of The Lure (2015). I discuss the filmmakers’ collaborative practice, and identify how the film integrates music, sound, and image in order to manipulate the codes of horror, fantasy, and the musical in a seamless and cohesive way. As well as positioning this practice within contemporary trends, this article also finds a historical precedent in Sergei Eisenstein’s writings and films. First, I chart the overlaps between Eisenstein and composer Sergei Prokofiev’s fluid collaborative working methods and those of The Lure’s filmmakers. Second, I use Charles Morris’s semiotics to account for the generation of meaning in The Lure as well as Eisenstein’s films at the level of semantics, syntax, and pragmatics. Reading Eisenstein’s methods and his films’ intended meanings through The Lure and vice-versa helps illuminate the relationship between craft and form as it pertains to classical (music-sound-image relations) as well as contemporary (the rise of integrated soundtracks and genre experiments) research questions in film studies.
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Jefferies, Daze. "Fish Trade Futures: Counter-Archives and Sex Worker Worlds at the Margins of St. John's Harbour." Journal of Folklore Research 60, no. 2-3 (May 2023): 67–94. http://dx.doi.org/10.2979/jfr.2023.a912089.

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Abstract: This article imagines the sociohistorical lives of trans women (and) sex workers in Ktaqmkuk (Newfoundland) as deeply entangled with ecological relations of so-called Canada's Atlantic coast—particularly the cultural and economic politics of fish trade at St. John's Harbour. Feeling fishy, a trace of transfeminine sex worker expressive culture and vernacular performance, comes to signify an evocative autoethnographic approach to trans sex worker research-creation at the water's edge. Poetic, illustrative, and sculptural play as both counter-archival worldmaking and critical address here emphasize power in creative approaches to trans and sex worker history and folkloristics. Building on art and scholarship immersed in transness and Newfoundland folklore, with mermaids and oceanic beings as guides, I explore trans and sex worker embodiments, desires, and subjectivities in marginal geographic zones. With/holding becomes a way to question the legitimacy of White settler colonial gestures toward extraction, curation, and preservation practices.
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Jefferies, Daze. "Fish Trade Futures: Counter-Archives and Sex Worker Worlds at the Margins of St. John's Harbour." Journal of Folklore Research 60, no. 2-3 (May 2023): 67–94. http://dx.doi.org/10.2979/jfolkrese.60.2_3.04.

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Abstract: This article imagines the sociohistorical lives of trans women (and) sex workers in Ktaqmkuk (Newfoundland) as deeply entangled with ecological relations of so-called Canada's Atlantic coast—particularly the cultural and economic politics of fish trade at St. John's Harbour. Feeling fishy, a trace of transfeminine sex worker expressive culture and vernacular performance, comes to signify an evocative autoethnographic approach to trans sex worker research-creation at the water's edge. Poetic, illustrative, and sculptural play as both counter-archival worldmaking and critical address here emphasize power in creative approaches to trans and sex worker history and folkloristics. Building on art and scholarship immersed in transness and Newfoundland folklore, with mermaids and oceanic beings as guides, I explore trans and sex worker embodiments, desires, and subjectivities in marginal geographic zones. With/holding becomes a way to question the legitimacy of White settler colonial gestures toward extraction, curation, and preservation practices.
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Pietrini, Sandra. "The Parody of Musical Instruments in Medieval Iconography." Revista de Poética Medieval 31 (December 14, 2018): 87–107. http://dx.doi.org/10.37536/rpm.2017.31.0.58895.

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The vast field of musical iconography during the Middle Ages must necessarily deal with the rich and surprising imagery of western manuscripts, showing a fanciful proliferation of playing creatures and bizarre deformations, sometimes inspired by exotic suggestions. In marginal miniatures of 14th century we can discover an interesting and puzzling topic: the parody of entertainers, with hybrid men playing a vielle with tongs, mermaids or apes playing jawbones and so on. The spreading of this topic in medieval iconography is linked to a satirical purpose aimed at professional entertainers, harshly condemned by Christian writers. Strange instruments made out of everyday objects like grills and distaffs, or ‘exotic’ animals like peacocks, mingle in the grotesque underworld of marginal miniatures, in which the noble art of music is often replaced by the cacophonous noises suggested by the devil.
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Astvatsaturov, Andrey, and Feodor Dviniatin. "“Sirens” by Joyce and the Joys of Sirin: Lilac, Sounds, Temptations." Arts 13, no. 3 (April 26, 2024): 77. http://dx.doi.org/10.3390/arts13030077.

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The article is devoted to the musical context of the works of James Joyce and Vladimir Nabokov. Joyce’s Ulysses, one of the most important literary texts of the twentieth century, is filled with musical allusions and various musical techniques. The chapter “Sirens” is the most interesting in this context as it features a “musical” form and contains a large number of musical quotations. The myth of the singing sirens, recreated by Joyce in images and characters from the modern world, encapsulates the idea of erotic seduction, bringing threat and doom to the seduced. Joyce offers a new version of the sea world filled with music, creating a system of musical leitmotifs and lexical patterns within the text. Developing the themes of temptation, the danger that temptation entails, doom, uniting with the vital forces of the world, and loneliness, Joyce in “Sirens” reveals the semantics of music, showing the specific nature of its effect on listeners. Vladimir Nabokov, who praised Ulysses and devoted a lecture to “Sirens”, is much less musical than Joyce. However, he, like Joyce, also refers to the images of singing sirens and the accompanying images of the aquatic world. One of the central, meaning-making signs in his work is the “Sirin complex”, his pseudonym. This sign, which refers to a large number of pretexts, refers in particular to the lilac (siren’) and to the mythological “musical” sirens. As in Joyce’s work, sirens are present in his texts as mermaids and naiads, or as figures of seducers who fulfil their function and bring doom. Joyce and Nabokov are also united by the presence of recurrent leitmotifs, lexical patterns, and the presence of auditory impressions in their text that are evoked by the sound of the everyday world.
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Avissar, Ariel. "Under the sea." Teknokultura. Revista de Cultura Digital y Movimientos Sociales 21, no. 1 (January 31, 2024): 95–96. http://dx.doi.org/10.5209/tekn.90515.

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This video applies a deformative logic to images taken from Disney’s The Little Mermaid (1989), connecting them intertextually with the film Under the skin (2013), which provides the music for the piece. It thus highlights and accentuates the violent, rageful gender dynamics of The Little Mermaid, reimagining it as a nightmarish scene of body horror and female subjugation.
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Cleveland, Janne. "Beyond Kids’ Stuff: A Review of Mermaid: A Puppet Theatre in Motion, by Alice Walsh (Kentville, NS: Gaspereau Press, 2005); Provenance, by Ronnie Burkett (Toronto: Playwrights Canada Press, 2005)." Canadian Theatre Review 128 (September 2006): 132–34. http://dx.doi.org/10.3138/ctr.128.022.

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Since its modest beginnings in 1971, Mermaid Theatre of Nova Scotia has maintained its commitment to “tell a good story, tell it simply, tell it well and tell it often” (Morrow). The story of the evolution and success of this company that creates and produces theatre for young people using puppetry, mask, dance, music and original scripts has been carefully and meticulously documented by Alice Walsh. As Walsh notes in her historiography, Mermaid: A Puppet Theatre in Motion, the company has evolved from a small experimental troupe touring shows in local schools in the Annapolis Valley to one that annually produces theatre for young people internationally. In the 2004/5 season, Mermaid toured twenty-seven states and five provinces and returned to Japan for the seventh time in its history (Mermaid). In fact, the company has toured so continuously and extensively across the globe that in 2001 it earned provincial and national Export Awards usually reserved for the industrial manufacturing sector. In 2005, the company repeated this performance as the recipient of the Canada Export Award. Current artistic director Jim Morrow concedes that, although being recognized as producers of a “product” is somewhat disconcerting to the artistic minds of Mermaid, as Nova Scotian ambassadors of puppet theatre for young people, the company “do[es] export a good energy from Atlantic Canada” (qtd. on 129).
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Dissertations / Theses on the topic "Mermaids in music"

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Phillips, Olivia H. "Marine Melodies: Traditional Scottish and Irish Mermaid and Selkie Songs as Performed by Top Female Vocalists in Contemporary Celtic Music." Digital Commons @ East Tennessee State University, 2021. https://dc.etsu.edu/honors/622.

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Mermaids and human-seal hybrids, called selkies, are a vibrant part of Celtic folklore, including ballad and song traditions. Though some of these songs have been studied in-depth, there is a lack of research comparing them to each other or to their contemporary renditions. This research compares traditional melodies and texts of the songs “The Mermaid,” “The Grey Selchie of Sule Skerry,” and “Hó i Hó i” to contemporary recordings by top female vocalists in Scottish and Irish music. The texts and melodies I have identified as “source” material are those most thoroughly examined by early ballad and folklore scholars. The source material for “The Grey Selchie of Sule Skerry” is a 1938 transcription by Otto Andersson. The source of notation and text for “The Mermaid” is the ballad’s A version from the Greig-Duncan Collection. The melody of “Hó i Hó i,” collected by folklorist David Thomson and published in 1954, serves as the third source version. Modern recordings included in the study are “The Mermaid” by Kate Rusby, “The Grey Selchie” by Karan Casey with Irish-American band Solas, and “Òran an Ròin,” a variant of “Hó i Hó i,” by Julie Fowlis. This study compares the forms, melodic contours, and texts of these variants, examining ways that contemporary recordings have maintained the integrity of traditional songs and ballads from which they are derived while adapting them to draw in a contemporary audience. The thesis illustrates the continued and evolving presence of mermaids and selkies in Scottish and Irish song.
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Books on the topic "Mermaids in music"

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Falco, Nunzia De. Le sirene nell'Ulisse di Luigi Dallapiccola. Napoli: Guida editori, 2015.

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Associates, Kroha, and Yakovetic Productions, eds. The Magic melody. [Burbank, Calif.]: Disney Books by Mail, 1992.

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Dotrice, Roy. The little mermaid. Burbank, CA: Walt Disney Records, 2009.

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Associates, Kroha, and Walt Disney Company, eds. The Crabby conductor. [Burbank, Calif.]: Disney Books by Mail, 1992.

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Bragg, Billy. Mermaid Avenue. New York, NY: Elektra, 1998.

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Sandler, Corey. Official Sega Genesis and Game Gear strategies, 3RD Edition. New York: Bantam Books, 1992.

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Music, Mermaids and Mai Tais. Independently Published, 2021.

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Journals, Zone365 Creative. Save The Chubby Mermaids Sheet Music. Independently Published, 2019.

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Wilde, Laura. I Love Music and Mermaids: Novelty Music Journal Present - Blank Lined Music Notebook, Beautiful Music Gifts for Kids and Adults. Independently Published, 2021.

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Of Mermaids and Rock Singers: Placing the Self and Constructing the Nation THrough Belarusan Contemporary Music. Taylor & Francis Group, 2020.

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Book chapters on the topic "Mermaids in music"

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Kell, Jodie, and Cindy Jinmarabynana. "Mermaids and cockle shells:." In Music, Dance and the Archive, 157–83. Sydney University Press, 2022. http://dx.doi.org/10.2307/j.ctv31nzm18.16.

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Kell, Jodie, and Cindy Jinmarabynana. "Mermaids and cockle shells: Innovation and tradition in the “Diyama” song of Arnhem Land." In Music, Dance and the Archive. Sydney University Press, 2022. http://dx.doi.org/10.30722/sup.9781743328675.09.

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In the Western Arnhem Land community of Maningrida, 500 kilometres east of Darwin, the recent creative expression of the all-female Ripple Effect Band has reignited interest in the origins of the “Diyama” song. As the first women in their community to take up instruments and form a band, their innovative musical practices have prompted recollection and discussion of cultural practices among women of the region, particularly An-barra family members of band member Stephanie Maxwell James. Their perspective provides new knowledge that contests the descriptions of song practice in archives and historical records. The new interpretations of the “Diyama” song and its origin story challenge the fixity of archival objects, recognising the law held in oral traditions and the prerogative of song custodians to respond creatively to changing contexts over time.
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Mordden, Ethan. "The Little Things We Used To Do." In Pick a Pocket Or Two, 160–69. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190877958.003.0011.

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This chapter addresses the British musical in the 1970s and 1980s. The review (of old music) replaced the revue, as can be seen in the mermaid's Cowardy Custard (1972) and Cole (1974), which were both stylish recapitulations of Noël Coward and Cole Porter. They had flavorsome casts, though the singing was variable. The chapter then focuses on two adaptations: The Good Companions (1974) and Peg (1984). It also considers the staging of movie musicals. This is not a ground-breaking genre, but one title that now stands out as a secret classic is Alan Parker's staging of the movie Bugsy Malone, in 1983. The staging of this retained all ten of the movie's numbers without emendation, and while the entire cast was dubbed onscreen, Parker had his stage cast doing their own vocals.
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Wolf, Stacy. "Disney Goes to School." In Beyond Broadway, 249–78. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190639525.003.0008.

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This chapter examines the various ways that the Disney Theatrical Group (DTG), a unit within the Walt Disney Company, engages with local musical theatre for elementary and middle school children. DTG’s involvement in the local musical theatre scene includes the creation of kid-friendly versions of shows with supplementary materials and, since 2011, an ambitious philanthropic program to support musical theatre production in underserved public elementary schools. After New York City, DTG established its first Disney Musicals in Schools Program in Nashville, Tennessee. This chapter visits schools and includes interviews with teachers and kids in Nashville, as well as the staff of the Tennessee Performing Arts Center, which oversees the program. Schools across a range of racial and socioeconomic communities produce Disney musicals like The Little Mermaid JR. and Aladdin JR. By loosening its famously tight grip on its product and allowing schools to produce their shows legally, Disney has at once increased revenue and become an instigator of social change and youth empowerment through musical theatre. DTG president Thomas Schumacher said that Disney’s music “is the new American songbook . . . We are this new era of Broadway.” Disney’s vision accommodates a populist agenda as they balance profit and corporate interests with philanthropy and grassroots artistic activism.
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"Girls’ Voices, Boys’ Stories, and Self-Determination in Animated Films since 2012." In Voicing the Cinema, edited by Robynn J. Stilwell, 127–48. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043000.003.0008.

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Since its first feature, Snow White (1937), Disney musical films have often centered on the coming-of-age experiences of young girls; however, the reliance on fairy tale models has often meant a highly conservative structure in which the girl “is won” rather than “wins.” The modern rebirth of the Disney musical with The Little Mermaid (1989) prefigures the 1990s rise of stories of girls’ finding their voices (both literal and metaphorical), often based on literary sources or true stories. In these films, music has a significant narrative role, since the “journey” is so often inward and therefore difficult to portray in image and action. Brave (2012) and Frozen (2013) build on traditional inward/spiraling “girl” storytelling tropes by doubling them with more external, linear “boy” trajectories. In both, two female characters orbit each other along their journeys. Brave is a sense-and-sensibility tale in which Merida already has a strong sense of self, and she and her mother learn from each other and bond (established with parallel songs at beginning and end). In Frozen (loosely based on Hans Christian Andersen’s The Snow Queen), the elder of the two royal sisters was originally written as a villain; after the songwriters delivered “Let It Go,” they report that the producers’ response was that “Elsa could no longer be a villain.” The emotive power of the song had deformed the narrative and dominates the film’s reception. The younger Anna rescues Elsa to rescue their kingdom; however, the price is the symbolic palace of selfhood that Elsa constructs during the extended prolongation of the song’s bridge. “Let It Go” is also in a line of showtunes from “Nobody’s Side” from Chess to “Defying Gravity” from Wicked, all associated with singer Idina Menzel and sharing musical traits that suspend the tonic between the dominant and subdominant poles, blurring harmonic drive, and giving the voice particular agency. “Let It Go” is the simplest of these, sitting well in even untrained voices, making it particularly gratifying for the many young girls who sing along to the movie and, in astonishing numbers, on YouTube.
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