Download Lindsey Stirling

Stirling performing at the Panorama festival in New York
MUSIC ANALYSIS
PRESENTATION
BY: HEATHER LEWIS
MUSIC 1010-408
DR. ROBERT BEDONT
BIOGRAPHY – INTRODUCTION AND EARLY
CHILDHOOD
• Lindsey Stirling
• Born September 21st, 1986 in Santa Ana, Ca
• Four siblings
• Humble family life
• Inspiration
•
Free concerts in the park
• Began to play violin at age 7
BIOGRAPHY – ADOLESCENCE AND BUILDING A
CAREER
• Joined a teenage rock band
• 18 month LDS mission in New York
• America’s Got Talent Season 5
•
“hip-hop violinist”
• Humiliating final performance
• Lots of rejection
• Relationship with Devin Graham
Lindsey Stirling on America’s Got Talent
BIOGRAPHY - CAREER
• YouTube gave Lindsey the freedom to create
• 2012 “Crystallize” over 160 million views
• Lindsey Stirling album in 2012
•
Lindseystomp Record label
• Popularity and tours around the world
• Shatter Me album in 2014
• Wrote, “The Only Pirate at the Party”
Lindsey Stirling on the set of the Crystallize music video
BIOGRAPHY – INSPIRATION & TRIALS
• Battle with anorexia
•
Turned to her faith and found her identity
•
Lindsey, “…wrote Shatter Me about overcoming anorexiz.”
• Close friend Gavi passed away in August 2015
• Brave Enough album in 2016
•
“Gavi’s Song”
• Huge impact on the music industry
Lindsey Stirling and her pianist Gavi
COMPOSITION HISTORY
• “Crystallize”
• Released on YouTube February 23, 2012
• Director/Cinematographer Davin Graham
• Featured on the Lindsey Stirling album
• Music producer Mark G.
• Influenced by Skrillex and Dr. Masaru Emoto
• Electronica music mixed with the violin
LISTENING GUIDE FOR CRYSTALLIZE
Timing
Form
Description
0:00
Intro
0:14
Exposition,
Theme A
0:41
Exposition,
Theme B
The song begins in 4/4 time and simple meter. The only sound
for the first four seconds is that of a vibrating organ sound in a
low pitch using a piano dynamic. At 0:04 the violin joins in as
pianissimo and gradually crescendos then diminuendos using a
tremolo technique to add suspense.
The soft long organ notes continue in the background while the
violin begins to play the melody in the foreground with a high
pitch. The violin is playing a slow rhythm with ¼ notes mixed in
with single notes at a high pitch. At the same time, there are
16th notes being played by the electronic keyboard that sound
like bubbles harmonizing with it to create a polyphonic sound.
There is a distinct change at 0:27 in sound from the electronica
music as a steady beat that sounds like drums is played with
each note. At this point the violin starts playing at a lower pitch.
The violin begins to speed up slightly from ¼ notes to 8th notes
and 16th notes while keeping a few longer notes mixed in. This
build up continues and the electronica sounds providing the
beat begin to increase to ¼ notes at around 1:00. This all adds
to the tension and the timbre between the two instruments is
easily established and the polyphonic sound remains. This
tension filled buildup is typical of the ‘dubstep’ genre. The pitch
of the violin increases to a very high note right before the drop.
LISTENING GUIDE CONTINUED
Timing
Form
Description
1:08
Exposition,
Theme C
1:36
Recapitulation,
Theme B
2:03
Recapitulation,
Theme A
A large ‘dubstep’ drop can be heard as Theme C begins and it
continues with a warping sound on each 8th note. The violin
comes into this section playing 32nd notes. This piece could be
considered a counterpoint as the violin has increased its rhythm
while the electronica music slows down and plays longer notes.
This is further displayed by the increased accents that are being
placed on the violin notes. Both instruments feel as though they
are competing for the spotlight. This theme is repeated twice,
and maintains its polyphonic sound. The melody continues but
has several notes being played creating a more complex sound.
The violin begins to slow back down similar to the first Theme B
and the extra electronica sounds back off leaving the beat and
the soft organ sound in the background. The violin is also at a
softer pitch with a few high notes.
The violin slows down mixing in longer notes with ¼ notes again
allowing the melody to become the focus. The pitch of the
violin begins much lower than the first Theme A, but the melody
remains soft and smooth. The electronica music regains its
bubbling sounds at the same speed as before. There is a calm in
this section compared to the high energy of Theme C.
LISTENING GUIDE CONTINUED
Timing
Form
Description
2:17
Recapitulation,
Theme B
2:51
Recapitulation,
Theme A
3:05
Recapitulation,
Theme C
3:33
Recapitulation,
Theme B
4:00
Recapitulation,
Theme A
A very similar section to Theme B but includes a few notes in the
beginning that reach a much higher pitch than before. As
Theme B at 1:36 seemed to be toning down the energy, this
theme begins to build up the energy again.
No noticeable differences between the previous Theme A until
3:01 where an added electronica sound like a slide whistle
crescendos adding a quick burst of tension right before Theme C
returns.
Begins once again with a large ‘dubstep’ beat drop on the first
note. This is played exactly like the previous Theme C and is
repeated twice like before.
Theme B returns but maintains more of the electronica music in
the background. There are a few warping sounds that continue
to influence the energy.
The song ends where it began staying true to the melody by
allowing it’s clear and simple notes to calm the music down and
gain its center. The electronica music in the background that
remains is at a pianissimo dynamic with long soft notes.
COMPOSITION HISTORY
• “Stars Align” released on September 25th, 2012
• Music video released on February 6th, 2014
• Created in 4 days
• Music prodder, DJ Poet Name Life
• Concept for video developed by Lindsey, Nathan D. Lee
•
Produced by Jared Cardon
•
Play Fight created the special effects
• Futuristic and mystical sound
•
Heavy EDM, dubstep vibe
LISTENING GUIDE FOR STARS ALIGN
Timing
Form
Description
0:00
Intro
0:14
Exposition,
Theme A
0:30
Exposition,
Theme B
The song opens with electronica music playing in 4/4 time and
simple meter. There is a harmony between the soft low half
notes and the quarter and 8th notes that make up the
complimentary sound. This complimentary sound consists of
varying pitches. At ten seconds a new noise joins in that has the
resemblance of a wave, it starts out with a piano dynamic and
crescendos until the violin is introduced. The beginning gives off
a mystical feel that is very intriguing.
The violin comes in on the offbeat of the second note with a
complex meter. The electronica music is still present in the
background with the violin as the focus. The violin seems to
stay within a narrow pitch range and plays descending notes
every four measures. This gives the music a polyphonic texture
with many layers being used to create an ‘out of this world’
sound. Each musical instrument is audibly noticeable creating
easily perceptible timbres of the stringed violin verses the
electric keyboard.
A steady rhythmic beat begins from the keyboard consisting of
8th notes. The violin plays a melody for the first 8 beats of the
established rhythm and then plays the same melody an octave
higher. The violinist adds a second sound adding a stringed
harmony with the melody and creating a monophonic sound
between the two. Both are playing a mixture of 8th and 16th
notes.
LISTENING GUIDE CONTINUED
Timing
Form
Description
0:45
Exposition,
Theme C
1:00
Bridge
1:16
Exposition,
Theme D
1:30
Recapitulation,
Theme B
1:46
Recapitulation,
Theme C
The violin speeds up and begins to play 32nd notes while the
electronica music maintains its properties. The melody is
maintained while depth is added through the extra notes. The
violins pitch range is increased and ends on a low note to make
a smooth transition out of the song.
Beginning on a low note the electronica music brings the song
down to a much deeper and impactful sound. The beat
maintains the 8th note rhythm but has a deep quick warping
noise. There are a few 16th notes added with the keyboard to
add texture and depth. At 1:07 the rhythmic beat from Theme B
returns along with a clapping noise that harmonizes with it.
Vocals are added to create even more layers saying, “da da da da
da da.” The “da’s” are sung as 16th notes. At 1:27 a crescendo
electronica noise is introduced creating a lot of tension and
build up, and as the rest of the keyboard sounds stop minus the
warping. The voice continues and sings, “when the stars align.”
The violin returns and the song returns to a similar composition
as Theme B with a few different electronica sounds in the
background.
Almost played the same as the first Theme C with a slight
variation in the electronica music as quarter note and two half
notes are repeated with a drum type beat.
LISTENING GUIDE CONTINUED
Timing
Form
Description
2:00
Exposition,
Theme D
2:16
Violin Solo
2:32
Recapitulation,
Theme B
Recapitulation,
Theme C
Keyboard Solo
Similar to the last half of the first Theme D. Begins with the “da
da da da da da” singing. There is no violin once again and the
keyboard sounds remain in the background. There is a gradual
crescendo in the singing until the final words, “when the stars
align.”
Background electronic beat continues as the violin is given
liberties to play a complex melody. This is where the violin has
it’s ‘solo’ moment.
A repeat of Theme B. Simple melody and harmony is regained.
2:46
3:01
3:17
A repeat of the initial Theme C
The Electronica music begins with a heavy vibrating warping
noise on the first note and alternates with a softer yet loud beat
on the other notes. The artist uses multiple sounds and the lack
of sound to create an ear catching polyphonic change to the
song.
Keyboard and Violin Violin enters while the electronica minus the warping noise
duet
continues. The pitch has a large range again. Both instruments
are complimenting each other as they combine the solos from
the violin and keyboard.
LISTENING GUIDE CONTINUED
Timing
Form
Description
3:32
Recapitulation,
Theme B
3:47
Recapitulation,
Theme A
4:02
Recapitulation,
Theme C
This is a repeat of Theme B but without the electronica. Only
the violins can be heard. The lack of background noise adds a
new variation to this theme that maintains the listener’s
interest. There is a use sound and the lack of sound that
captivates the listener, a sort of ying and yang feeling.
Theme A comes back but with a much heavier accent on the
electronica music, once again adding a slight variation to keep
the audience’s interest.
Theme C is played three times. The first includes an added
clapping noise. The second time through eliminates the
clapping and some of the other electronica noises which
simplifies the sound slightly but to replace it is a siren like sound
that crescendo’s in the background so it doesn’t calm down too
much. The third time is played with even less background noise,
only keeping a basic beat in the background and ends the last
few notes with only the violin playing.
COMPOSITION HISTORY
• “Gavi’s Song” released on August 19th, 2016
•
Brave Enough album
• Written by Stephen Anderson, Jason Gaviati, Drew Lawrende, & Lindsey
• Keyboardist Jason Gavi passed away
•
Lindsey and Gavi were working on this piece together
• Focus on the violin without the electronica music
• Emotional piece
LISTENING GUIDE FOR CRYSTALLIZE
Timing
Form
Description
0:00
Exposition,
Theme A
0:17
Exposition,
Theme B
0:25
Recapitulation,
Theme A
The piece is played in 4/4 time with a simple meter. The violin
begins by playing the melody with a piano dynamic. This four
melody will be heard and expanded on throughout the song.
This simple melody consists of two eighth notes beginning on
the last note in the measure (pick-up beat) and a dotted half
note played three times and the last one consists of dotted half
notes rather than a three-quarter note. The notes are played as
a stepping down sound. The piano harmonizes but remains in
the background playing a recurring three notes similar to the
melody of the violin but stepping up and beginning in opposition
with the violin’s notes. The timbre of the two instruments is
crystal clear. The texture between the two develops like a
dance. The melody is played twice. The pitch of the violin sticks
to a narrow range.
The violin begins to play a higher pitch for four measures. Both
the piano and the violin are playing a higher frequency of notes
in this short section.
The simple melody is played one more time. There is a change
in how the piano is played, it now consists of low pitched whole
notes and ends with an ascending scale.
LISTENING GUIDE FOR CRYSTALLIZE
Timing
Form
Description
0:34
Recapitulation,
Theme A
1:01
Recapitulation,
Theme B
1:15
Recapitulation,
Theme A
1:30
Recapitulation,
Theme B
The same melody is played but it has been modified to include
many more notes for both the violin and the piano. This creates
a dramatic effect and enhances the emotion that is being
portrayed in the song. This is repeated four times with slight
changes each time.
Similar to the previous B form but with some extra notes and a
larger pitch range. Ends with a very long note that lasts close to
four measures, fades out and is replaced by some “oooo” voice
with a diminuendo adding to the emotions of the song by
portraying the sense of loss.
The melody is played by the violin again but in a lower octave, it
then uses an ascending scale to bring it up to the higher octave
and plays the melody again. The piano also plays the first
melody in a deeper tone and then returns to the original octave
of the melody.
The violin portrays a very sad and grieving emotion as it reaches
some high-pitched notes and almost sounds as it is crying itself.
This is the same as it was played before but the emotion that
has been added into the song by the way the melody was just
played is much more impactful. The piano has also added
several notes which gives it a more textured sound and power.
LISTENING GUIDE FOR CRYSTALLIZE
Timing
Form
Description
1:39
Recapitulation,
Theme A
The melody returns and the piano and violin are playing it on
different notes. The violin plays it step down while the piano
plays with a step up.
1:47
Bridge
2:21
Bridge
2:36
Recapitulation,
Theme A
The violin begins to play a forte dynamic, with the piano
accompanying its power. The violin begins with quarter and 8th
notes, transitions to 32nd notes, and then begins to add in some
half and dotted half notes putting a lot of energy into the
buildup and ends with several whole notes as the pitch reaches
higher and higher until you feel as though it has hit its limit.
The piano plays a soft tune that sounds almost childish using
quarter notes for five measures. There is no violin being played.
The violin returns in a low pitch with the melody and the piano
harmonizes. The violin has added a new take on the melody
with the occasional 32nd notes. The mix between these notes
and the half and whole notes creates this quick build up and
long release and the song just weighs on the soul. At 2:53 the
melody is played again and the “ooooo” voices return. The song
builds up once again as the violin returns to its high pitch.
LISTENING GUIDE FOR CRYSTALLIZE
Timing
Form
Description
3:07
Recapitulation,
Theme B
3:22
Recapitulation,
Theme A
3:37
Fadeout
3:56
Recording
4:30
Voice
Theme B is played again in a very high pitch but has also added
in the 32nd notes. With the piano accompanying and the voices
singing in the background the emotion is maintained and the
violin sounds as if it will burst.
Once again, the melody is back but with the use of longer notes
this time. The violin plays half, quarter and whole notes. The
violin does a slight diminuendo as the voice becomes the focus
for a brief second. There is a sound of bells playing a piano
dynamic.
The violin returns after the brief absence to play a few more
notes without the voices. The piano is playing long notes to
harmonize and allow the focus to stay on the sad violin. The bell
sounds remain and the violin ends the song with a long note
that diminuendos.
The song has ended and a recording begins to play. The
recording is Gavi and Lindsey playing the same song before
Gavi’s passing.
The last few seconds are of Gavi saying, “sounds like that
dude…” as Lindsey and he finish playing.
BIBLIOGRAPHY & REFERENCES
•
"About." Lindsey Stirling. Lindsey Stirling, n.d. Web. 13 Mar. 2017. <http://www.lindseystirling.com/about/>.
•
Bienstock, Richard. "Lindsey Stirling Talks What (and Who) Makes Her Strings Sing, From 'America's Got Talent' to
Skrillex." Billboard. Billboard, n.d. Web. 13 Mar. 2017.
<http://www.billboard.com/articles/columns/pop/7476218/lindsey-stirling-talks-what-and-who-makes-her-stringssing-from>.
•
Brownlie, Dougal. "Review: The." Living Out Loud Los Angeles. Living Out Loud - LA, Inc., 16 May 2014. Web. 13 Mar.
2017. <http://www.lol-la.com/review-stars-align-violin-star-lindsey-stirling-club-nokia/>.
•
Caulfield, Keith. "Lindsey Stirling Scores Third No. 1 on Top Dance/Electronic Albums Chart." Billboard. Billboard, 02
Sept. 2016. Web. 13 Mar. 2017. <http://www.billboard.com/articles/columns/chart-beat/7495452/lindsey-stirlingscores-third-no-1-dance-electronic-albums>.
•
Collar, Matt. "Lindsey Stirling | Biography & History." AllMusic. AllMusic, n.d. Web. 13 Mar. 2017.
<http://www.allmusic.com/artist/lindsey-stirling-mn0002929806/biography>.
•
"Crystallize by Lindsey Stirling Songfacts." Songfacts. Songfacts, LLC, n.d. Web. 13 Mar. 2017.
<http://www.songfacts.com/detail.php?id=32012>.
•
Emoto, Masaru. "Masaru Emoto - 愛・感謝 - Love & Gratitude - Amor y Gratitud." Masaru Emoto. N.p., n.d.
Web. 13 Mar. 2017. <http://www.masaru-emoto.net/english/emoto.html>.
BIBLIOGRAPHY & REFERENCES - CONTINUED
•
Eriksson, Lukas. "Lindsey Stirling America's Got Talent." YouTube. YouTube, 27 Apr. 2012. Web. 13 Mar. 2017.
<https://www.youtube.com/watch?v=M2xL7D5lPAk>.
•
Florino, Rick. "Interview: Lindsey Stirling." ARTISTdirect. ARTISTdirect, n.d. Web. 13 Mar. 2017.
<http://www.artistdirect.com/entertainment-news/article/interview-lindsey-stirling/10857324>.
•
"Gavi's Song." MusicBrainz. Lindseystomp Music, n.d. Web. 13 Mar. 2017. <https://musicbrainz.org/work/52db930d-89d5-4e3b9ddc-7885eeb43725>.
•
"Gold & Platinum." RIAA. RIAA, n.d. Web. 13 Mar. 2017. <https://www.riaa.com/gold-platinum/?tab_active=defaultaward&ar=Lindsey%2BStirling&ti=Crystallize#search_section>.
•
Humphrey, Michael. "Lindsey Stirling: $6 million - pg.5." Forbes. Forbes Magazine, 16 Oct. 2015. Web. 13 Mar. 2017.
<https://www.forbes.com/pictures/eelm45jjle/4-lindsey-stirling-6-mil/#1da6bece4456>.
•
Kain, Erik. "The Dancing Violinist - How Lindsey Stirling Is Conquering YouTube One Video At A Time." Forbes. Forbes Magazine,
30 Aug. 2012. Web. 13 Mar. 2017. <https://www.forbes.com/sites/erikkain/2012/08/29/the-dancing-violinist-how-lindseystirling-is-conquering-youtube-one-video-at-a-time/#44e349923baa>.
•
Kohn, Daniel. "Violinist Lindsey Stirling Proves She's Brave Enough on Her Latest Album." OC Weekly. OC Weekly News, Inc., 03
Aug. 2016. Web. 13 Mar. 2017. <http://www.ocweekly.com/music/violinist-lindsey-stirling-proves-shes-brave-enough-on-herlatest-album-7391268>.
•
"Lindsey Stirling." Yamaha Artists. Yamaha, n.d. Web. 13 Mar. 2017. <http://www.yamaha.com/artists/lindseystirling.html>.
BIBLIOGRAPHY & REFERENCES - CONTINUED
•
Rate Your Music. Sonemic, Inc., n.d. Web. 13 Mar. 2017.
<http://rateyourmusic.com/release/album/lindsey_stirling/lindsey_stirling/>.
•
Shumaker, Beverly G. "Click here to support Giving for Gavi #WeAreGavi by Beverly Gaviati Shumaker."
Gofundme.com. N.p., 5 Aug. 2015. Web. 13 Mar. 2017.
•
Stirling, Lindsey. "Crystallize - Lindsey Stirling (Dubstep Violin Original Song)." YouTube. YouTube, 23 Feb. 2012. Web.
13 Mar. 2017. <https://www.youtube.com/watch?v=aHjpOzsQ9YI>.
•
Stirling, Lindsey. "Lindsey Stirling." Mormon.org. The Church of Jesus Christ of Later-Day Saints, n.d. Web. 13 Mar.
2017. <https://www.mormon.org/me/b1nv>.
•
Stirling, Lindsey. "Stars Align - Lindsey Stirling (Original Song)." YouTube. YouTube, 06 Feb. 2014. Web. 13 Mar. 2017.
<https://www.youtube.com/watch?v=55_bV4ORRFM>.
•
Toone, Trent. "Hip-hop violinist Lindsey Stirling overcomes anorexia, critics to find happiness, success."
DeseretNews.com. Deseret News, 18 Apr. 2013. Web. 13 Mar. 2017.