This is my favorite musical of all time, and a lot of it is because it is overwritten and my ADHD brain loves it. No matter how many times I watch it, I never get bored and Inlove unveiling its different layers of meaning and feeing the emotions it brings up.
It's wonderful to hear how deeply you connect with Into The Woods! The richness of its storytelling certainly seems tailor-made for the curious mind, like yours, always hungry for more. The layers of meaning woven into its narrative offer endless exploration, and it's fantastic that it keeps you engaged even after multiple viewings. It's a testament to the enduring power of musical theater to captivate and provoke emotions. Here's to many more journeys into the woods, uncovering new treasures each time!
Please don’t hesitate to write more of an analysis of Into The Woods if you want to! I’d certainly enjoy it. Though I may not be your entire fan base, I’d wager that quite a lot of us feel a long analysis of the dramatic engineering of the show and songs would be less subjugation than education (and entertainment, too!) Just *don't* overexert yourself, for our sakes. Do it if you want to, of course…
@@julianrmunds Forgive me, it seems that my message was riddled with mistakes (due to it being typed up on my phone). I mean to clarify to *not* overexert yourself! Finishing videos because others want you to instead of because you want to is not good for you at all. It is much better for you to take your time with it, than risk spiraling into burnout, please!
Suggesting that Sondheim has work that is overwritten is akin to saying that fractals are over-designed. If you want to know what fractals sound like, listen to Into the Woods or Sunday in the Park with George.
Thank you for your comment and for taking the time to engage with my video. However, I think we may be discussing different aspects of the musicals in question. When I describe both *Into the Woods* and *Sunday in the Park with George* as overwritten, I am not referring to the music itself but rather to the dramatic structure of the works. Both musicals have issues in their second acts. *Into the Woods* attempts to conclude no less than three times with halting numbers and ends in a somewhat confused state. While *Sunday in the Park with George* boasts one of the greatest moments in any Sondheim show in the second act, "Putting It Together," it still ends on a denouement that feels unresolved and somewhat dissipates. My comments are strictly about dramaturgy rather than the compositional aspects. Your remark about fractals assumes a mathematical interpretation of music that I find problematic. Music is not mathematics; this modern, post-industrial perspective is often a way for STEM adherents to rationalize their appreciation for art. Modern STEM pedagogy tends to be wary of the unquantifiable and philosophical, and by claiming music as part of STEM, it seems more acceptable. The concept of fractal music you refer to originates from Milton Babbitt, whose work with serialism I mention in the video. Though Sondheim did often express a wish to be a mathematician, I don't believe that was his intention here. The famous motif from *Sunday in the Park with George* is a dramatic representation of pointillist technique, and the polyrhythms of *Into the Woods* symbolize movement through life and growth.
Would you do a video about Sondheim’s contribution to the movie Dick Tracy? “What can you Lose?” is one of my very favorite songs; it expresses my mind over a long period.
"Overwritten period?" How presumptious and judgmental. In my humble opinion, this "period" of Sondheim's work was his best. As he has stated himself (and I'm paraphrasing), he doesn't write complex structures just for the sake of it. I guess you would like Sondheim's scores to be more "hummable" as is stated in the song with the booking agent in "Merrily We Roll Along." I take personal offense at this aggregious statement of yours.
Thank you for sharing your thoughts on my previous comment. I appreciate your passion for Stephen Sondheim's work, and I can see how much his music means to you. To clarify, my reference to the "overwritten dramatic structure" was not meant as a criticism of Sondheim's talent or the quality of his work. Rather, it was an observation on the complexity found in shows like "Into the Woods" and "Sunday in the Park with George." I find these pieces rich and intricate, with many layers to explore. Regarding melody and simplicity, I understand that Sondheim's work often defies conventional structures and expectations. It's part of what makes his music so unique and profound. My comments were not about wanting his compositions simplified or made more "hummable," but rather about the challenge of navigating their depth and intricacy. I respect your perspective and your defense of Sondheim's artistry. Your input helps me see his work from a different angle, and I hope we can continue to discuss and appreciate his music together. Thank you again for your feedback. I'm looking forward to learning more from this conversation.
Could you maybe use some kind of background music with your analyses? Without it the video seems a bit bland at times, even though its content ist nice
This is my favorite musical of all time, and a lot of it is because it is overwritten and my ADHD brain loves it. No matter how many times I watch it, I never get bored and Inlove unveiling its different layers of meaning and feeing the emotions it brings up.
It's wonderful to hear how deeply you connect with Into The Woods! The richness of its storytelling certainly seems tailor-made for the curious mind, like yours, always hungry for more. The layers of meaning woven into its narrative offer endless exploration, and it's fantastic that it keeps you engaged even after multiple viewings. It's a testament to the enduring power of musical theater to captivate and provoke emotions. Here's to many more journeys into the woods, uncovering new treasures each time!
I would totally be interested in "something like that"
I will look into it then.
4:53
*3 Principles to Build a Strong Opening*
Explanations:
1.) 4:57 - Worldbuilding (5:15)
2.) 5:01 - Themes (9:04)
3.) 5:06 - Conflict (12:10)
Please don’t hesitate to write more of an analysis of Into The Woods if you want to! I’d certainly enjoy it. Though I may not be your entire fan base, I’d wager that quite a lot of us feel a long analysis of the dramatic engineering of the show and songs would be less subjugation than education (and entertainment, too!) Just *don't* overexert yourself, for our sakes. Do it if you want to, of course…
I certainly will consider it. I have my full score that should be used.
@@julianrmunds Forgive me, it seems that my message was riddled with mistakes (due to it being typed up on my phone). I mean to clarify to *not* overexert yourself! Finishing videos because others want you to instead of because you want to is not good for you at all. It is much better for you to take your time with it, than risk spiraling into burnout, please!
Suggesting that Sondheim has work that is overwritten is akin to saying that fractals are over-designed.
If you want to know what fractals sound like, listen to Into the Woods or Sunday in the Park with George.
Thank you for your comment and for taking the time to engage with my video. However, I think we may be discussing different aspects of the musicals in question. When I describe both *Into the Woods* and *Sunday in the Park with George* as overwritten, I am not referring to the music itself but rather to the dramatic structure of the works. Both musicals have issues in their second acts.
*Into the Woods* attempts to conclude no less than three times with halting numbers and ends in a somewhat confused state. While *Sunday in the Park with George* boasts one of the greatest moments in any Sondheim show in the second act, "Putting It Together," it still ends on a denouement that feels unresolved and somewhat dissipates. My comments are strictly about dramaturgy rather than the compositional aspects.
Your remark about fractals assumes a mathematical interpretation of music that I find problematic. Music is not mathematics; this modern, post-industrial perspective is often a way for STEM adherents to rationalize their appreciation for art. Modern STEM pedagogy tends to be wary of the unquantifiable and philosophical, and by claiming music as part of STEM, it seems more acceptable. The concept of fractal music you refer to originates from Milton Babbitt, whose work with serialism I mention in the video. Though Sondheim did often express a wish to be a mathematician, I don't believe that was his intention here. The famous motif from *Sunday in the Park with George* is a dramatic representation of pointillist technique, and the polyrhythms of *Into the Woods* symbolize movement through life and growth.
I am a music teacher and I suggest that “Rock Island,” the opening number of The Music Man, is an early example of rap. I’m curious what you think.
Funny you should mention this. I am just finishing up my next video that will actually cover this song.
"Something like that", looking forward to it.
Another vote for the something like that. Great. Thanks!
very nice video i love sondheim, keep up the good work!
Thanks a lot! I admire the work of Sondheim greatly too.
I would also be very interested in "something like that"
Ok I'll get to working on it.
Would you do a video about Sondheim’s contribution to the movie Dick Tracy? “What can you Lose?”
is one of my very favorite songs; it expresses my mind over a long period.
Indeed this is a topic I've considered and will certainly feature on my channel at some point.
"Overwritten period?" How presumptious and judgmental. In my humble opinion, this "period" of Sondheim's work was his best. As he has stated himself (and I'm paraphrasing), he doesn't write complex structures just for the sake of it. I guess you would like Sondheim's scores to be more "hummable" as is stated in the song with the booking agent in "Merrily We Roll Along." I take personal offense at this aggregious statement of yours.
Thank you for sharing your thoughts on my previous comment. I appreciate your passion for Stephen Sondheim's work, and I can see how much his music means to you.
To clarify, my reference to the "overwritten dramatic structure" was not meant as a criticism of Sondheim's talent or the quality of his work. Rather, it was an observation on the complexity found in shows like "Into the Woods" and "Sunday in the Park with George." I find these pieces rich and intricate, with many layers to explore.
Regarding melody and simplicity, I understand that Sondheim's work often defies conventional structures and expectations. It's part of what makes his music so unique and profound. My comments were not about wanting his compositions simplified or made more "hummable," but rather about the challenge of navigating their depth and intricacy.
I respect your perspective and your defense of Sondheim's artistry. Your input helps me see his work from a different angle, and I hope we can continue to discuss and appreciate his music together.
Thank you again for your feedback. I'm looking forward to learning more from this conversation.
The word is spelled, “egregious” and I couldn’t agree with you more.
Could you maybe use some kind of background music with your analyses? Without it the video seems a bit bland at times, even though its content ist nice
Certainly, something to consider in the future.