Surfing flists and had to stop to read, because it's rare to see anyone talking about Jackson Browne these days. ;-)
But first, very interesting posts on counterpoint -- like many others who commented on the other post, "God Only Knows" is definitely one of my favorite pieces of music ever -- so powerful for something so short.
The most incredible *visual* illustration of polyphony I've ever seen is at the end of "Love, Actually," when the director uses the burst of multiple melodies at the end of "God Only Knows" as the screen splits multiple times, showing scene upon scene of people meeting and leaving at an airport. I have other issues with the movie itself, but that ending combination of music, words and visuals just gets me every time -- and its power rests on that incredible music.
Getting back to Jackson Browne, some of the stuff is very 70s, yes (the disco beat under some of the tracks on Running On Empty is kind of painful to listen to, for example. Even if it was used ironically it's still... disco ;-). But he created such a beautiful body of music, those occasional slips aren't a big deal.
I'm trying to think if Crosby, Stills & Nash (with or without Young) ever produced any good examples of polyphony -- they were so all about harmony, but I'm thinking they must have thrown polyphony into the mix at some point. Oh, I know -- In "Teach Your Children," there's a perfect example right in the middle.
Fun things to think about (and remember). Thank you!
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Date: 6/2/06 04:21 am (UTC)But first, very interesting posts on counterpoint -- like many others who commented on the other post, "God Only Knows" is definitely one of my favorite pieces of music ever -- so powerful for something so short.
The most incredible *visual* illustration of polyphony I've ever seen is at the end of "Love, Actually," when the director uses the burst of multiple melodies at the end of "God Only Knows" as the screen splits multiple times, showing scene upon scene of people meeting and leaving at an airport. I have other issues with the movie itself, but that ending combination of music, words and visuals just gets me every time -- and its power rests on that incredible music.
Getting back to Jackson Browne, some of the stuff is very 70s, yes (the disco beat under some of the tracks on Running On Empty is kind of painful to listen to, for example. Even if it was used ironically it's still... disco ;-). But he created such a beautiful body of music, those occasional slips aren't a big deal.
I'm trying to think if Crosby, Stills & Nash (with or without Young) ever produced any good examples of polyphony -- they were so all about harmony, but I'm thinking they must have thrown polyphony into the mix at some point. Oh, I know -- In "Teach Your Children," there's a perfect example right in the middle.
Fun things to think about (and remember). Thank you!