The hypnotic atmosphere of the songs allows free association with the world. One dissociates and is only in his body. One thinks of the beloved subject and the little things that made the contact so special. Since there is a spatial separation, one is forced to simulate a proximity. But the mere imagining of the beloved subject as a counterpart feels like too little in the imagination. Only a somnambular evocation of the imagined essence of this being gives this play (which one performs only for oneself) the necessary vitality. The essence can be of different kinds. It can be, for example, the image of the person (painting, photo…), or ideals and values attributed to the beloved subject (Platonic values). It can also be a fairy tale idea of possession (sirens and ocean), which rather represent the process of transition or initiation of the You are me.
As a result, the lover no longer painfully feels the real exclusion from the world of the beloved subject, because in his imagination he puts himself in the role of this person.
Note: I have made the following music selection for myself. It may therefore appear to you (the reader) to be unsuitable for this structure, as it is based on personal criteria.
The sirens live in the ocean. This is not a suitable habitat for humans. The lover perceives the beloved subject as an extraordinary siren who actually wants to spare him or her. He does not want to possess the beautiful siren because of her beauty, but he wants to participate in her life under the sea. The obsession here lies in sharing in the immeasurable essence of the beloved subject (the world under the sea).
Hynotic beats as a portal of appropriation:
The beloved subject resembles a femme fatale and hypnotic driving beats testify in a believable way to the destructive powers that such a person can unfold on the soul level. Through this music the lover can shift his consciousness into the same position, because through the trance that is created in this process he can leave his usual body consciousness and objectifiably evoke the small quirks or behaviors of the beloved subject within himself. He looks in the mirror and traces the emotions…
To visualize the image of appropriation through poetry:
“Come into me and change me…”
Whispering, questioning songs that get close to you. They make you sad and they touch you with the desire to recognize the other person. In the role of the singer, one feels as if one is speaking to one’s beloved subject and feeling into it in order to illuminate it. There is something pact-like about it, as if one impregnates oneself with the essence of the beloved subject to keep it alive within oneself. The beloved subject, for example, is a casual, easy-going, sophisticated, fun-loving smoker. The lover solidarises with a world view that is foreign to him/her (he/she is, for example, a non-smoker and rarely goes to bars or nightclubs). Through the music, however, he can put himself in the musicians’ habitus and coolness and pretend to be part of it. But here an objectification and unclear transmission of the essence is probable.
To blur the image of appropriation through poetry:
The beloved subject is greater than what you see. One believes in it and sees the beloved subject in the foreign and the distant, in order to surrender to the force working there. It is foreign to you and you are afraid of this abandonment, loneliness, arbitrariness and yet you feel in it a part of the loved being.
Note: Music is free and the assignments made here are for entertainment purposes only and can never restrict a song to only these aspects.