How Frozen and Frozen II's music codes Elsa as aroace

If you’re reading this essay, you’re probably already aware that many people like reading Elsa as queer. But if you’re not, the basic gist is that while Elsa isn’t canonically queer, her character resonates with many queer people who can draw connections between her experiences of having ice powers in kingdom of non-magical people, and their own experiences of being queer in a society of cishet people. (That’s a bit of a mouthful to explain, so people normally say that she’s coded as queer for short.) This is yet another essay about reading Elsa as queer, but I’m expanding on existing writing in two ways: first, I’m exploring the ways that Elsa is coded specifically as both aromantic and asexual, or aroace for short. Second, I’m focusing on how the music in particular codes Elsa as aroace.

Appendix to "How Frozen and Frozen II's music codes Elsa as aroace"

This is just my bookkeeping of every motif I’ve found, where I’ve found it, and my commentary on it, which has nothing to do with the Elsa being coded as aroace. If you’re a big enough music theory nerd that that sounds interesting to you, feel free to keep reading and share your thoughts in the comments. For everyone else, you’re probably better off skipping this.