James Horner Polyphony
Several years ago, Scott Murphy referenced "Horner Space" (June 22, 2017) on the anniversary of the composer's death. I thought of this concept after recently returning to Horner's music. In addition to this particular musical progression, I am struck by Horner's pandiatonic polyphony. A melody is opposed by a countermelody that does not relate harmonically, remaining in the key but striking dissonances freely. Examples include Titanic ("Southampton"), Braveheart ("End Credits"), Pas de Deux ("Part 2"), Bobby Jones: Stroke of Genius ("St. Andrews"), etc. A related technique is the quodlibet(?) of Braveheart ("Freedom/The Execution/Bannockburn"), for example.
Am I analyzing this correctly as pandiatonic polyphony? (I am more than a half-decade out from practicing theoretical analysis, so my terminology is dated and rusty.) Examples in Horner abound (and are the leading influence on my piano improvisation style). Has anyone done a more thorough analysis of this musical technique, either in Horner's music or that of another composer (film or otherwise, e.g., Prokofiev)?