Beat Frequency: Liminal Ritme dan Timbre dalam Musik Spektral

Yayi Wira Pamungkas

doi:10.24821/invensi.v9i1.9345

Beat Frequency: Liminal Ritme dan Timbre dalam Musik Spektral

Yayi Wira Pamungkas

Abstract

Penulis meninjau bahwa karya musik spektral pada umumnya membutuhkan waktu yang panjang untuk menggerakkan setiap bagiannya. Hal ini disebabkan oleh lemahnya ritme atau aspek waktu dalam musik spektral karena musik spektral lebih berfokus pada dominasi timbre daripada kompleksitas melodi dan nilai not, serta sulitnya menghubungkan “timbre” (sebagai preferensi musik spektral) dengan “ritme” (sebagai kebutuhan untuk mengembangkan struktur musik). Penelitian ini bertujuan untuk mengetahui dan memahami titik temu ritme dan timbre yang dihasilkan oleh liminalitas beat frequency dan spektralisme serta menemukan teknik komposisi musik spektral yang menghasilkan ritme kuat melalui eksperimen beat frequency. Penelitian ini menggunakan practice-led research dengan enam tahap penelitian yang berkorelasi satu sama lain. Dari ketiga hasil eksperimen disimpulkan bahwa konsekuensi formal untuk menciptakan musik spektral yang mempunyai ritme kuat melalui eksperimen beat frequency, yaitu (1) struktur makro berasal dari pertumbuhan organik ritme dan timbre yang dihasilkan oleh liminalitas beat frequency dalam spektrum bunyi, (2) beat frequency yang dihasilkan oleh setiap kombinasi parsial yang berinterval disonansi mempunyai hubungan konsepsi dan persepsi, dan (3) pengaliran, progresivitas, dan klimaks berbasis superposisi dan manipulasi kompleksitas beat frequency dari spektrum bunyi yang akan digunakan sebagai bahan.

Beat Frequency: Rhythm and Timbre Liminal in Spectral Music

ABSTRACT

Spectral pieces generally take a long time to move each part. This is due to the weak rhythm or timing aspect in spectral music because spectral music focuses more on timbre dominance than melodic complexity and note value, and the difficulty of connecting “timbre” (as a spectral music preference) with “rhythm” (as the need to develop a music structure). This research aims to determine and understand the meeting point of rhythm and timbre produced by beat frequency liminality and spectralism to find a spectral music composition technique that has a strong rhythm through beat frequency experiments. This research uses practice-led research with six stages of research that are correlated with each other. From the three experimental results, it can be concluded that the formal consequences for composing spectral music that has a strong rhythm through beat frequency experiments are (1) the macrostructure comes from the organic growth of rhythm and timbre produced by the liminality of the beat frequency in the sound spectrum, (2) the beat frequency is produced by each partial combination with dissonance intervals having a conception and perception relationship, and (3) flow, progression, and climax based on superposition and placement of the beat frequency complexity of the sound spectrum to be used as material.

Keywords

musik spektral, liminal ritme dan timbre, beat frequency | spectral music, rhythm and timbre liminal, beat frequency

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DOI: https://doi.org/10.24821/invensi.v9i1.9345