Kontra Akustika

OCTOBER MEETING
Contemporary Music & Musicians

 

It’s Philosophy:

Having one’s head in the clouds
Dreaming
release of
Curiosity/Spirit/Inspiration
to be
Creative/Innovative
is all about
October Meeting
Contemporary Music & Musicians
and its supporting
Audience

 

KONTRA-AKUSTIKA

Sesungguhnya musisi dan komponis Abad ke-21 ini berada pada kondisi yang terjepit dan hampir tidak dapat berkutik. Keduanya sama-sama terjebak pada permainan ambigu produksi bunyi yang berkembang pesat nyaris tidak memiliki batas. Ada dua poros gelombang besar; yaitu Poros Gelombang Rasional dan Poros Gelombang Emosional

Masing-masing memiliki karakteristik penciptaan yang sama-sama kuatnya, sama-sama menariknya, namun bila bertemu, terkadang melahirkan konflik ideologi penciptaan musik yang tidak mudah diurai dengan pemahaman-pemahaman musik. 

Gelombang Rasional banyak menggunakan cara-cara ilmiah seperti: investigasi artistik, penelitian artistik, adopsi dan adaptasi teori kebudayaan, khususnya dalam rangka menyusun dan mengurai aspek musikal komposisi. Akibatnya adalah terdapat kompleksitas tertentu dalam menakar hasil produksi ciptaannya. Di sinilah musik dan sains mengalami persenyawaan yang sulit dipetakan, karena pencitraan bunyi merupakan konsekuensi dari rumusan-rumusan abstrak yang tidak mudah disinkronkan di telinga pendengar. 

Gelombang Emosional menganggap pencitraan bunyi sebagai tujuan, sehingga pemilihan medium bunyi, kesadaran artistik, bentuk, struktur, ditakar melalui cita-rasa musikal pembuatnya. Intuisi menjadi bahan bakar utama proses penciptaan musiknya. Parameter aspek musiknya ditata supaya tunduk pada sistem yang berlaku dalam intuisi tersebut. 

Ketika berhadapan dengan perangkat teknologi reproduksi musik/alat musik, Poros Gelombang Rasional memicu penciptaan media baru oleh karena kebutuhan sistem reproduksi bunyinya yang dapat bersifat baru secara total atau pemekaran saja. Kehadiran sub-woofer, kontrabass, contrabassoon adalah beberapa contoh jawaban teknologi akustika atas dasar dorongan kebutuhan sistem suara bawah, sebagai pelebaran ambitus register nada, sehingga reproduksi musik dapat seluas 20Hz hingga 20Khz. Maka seluruh informasi fenomena akustika, spektrum bunyi, struktur harmonik dan pesan-pesan musikal merupakan bagian integral dari capaian nilai artistiknya. 

Sementara Poros Gelombang Emosional lebih asyik pada pencarian bunyi yang belum pernah diciptakan. Sehingga muncul varian teknik, upaya-upaya performatif  hasil interaksi antara pencipta dengan instrumen, juga improvisasi permainan secara mesra dan eksploitatif bersama instrumen tersebut. Dalam kasus ini, terkadang bunyi yang muncul tidak seprovokatif aksi interaksinya. 
  
Di antara dua poros ini persepsi bunyi kita diuji untuk mengurai, memaknai, memahami dan menyimpulkan fenomena akustiknya sampai titik bunyi terakhir. Diskusi tanpa akhir tentang takaran antara persepsi bunyi dengan pemahaman gejala akustikanya dituntut untuk digunakan guna mencapai kesimpulan takaran artistik dalam menyimak karya musik terkini. Telinga dan logika kita mengalami “kontra-akustika”, yaitu semacam pelebaran persepsi akustik. Dalam situasi seperti inilah kita hidup dan menuai bunyi. 

ILLUSTRASI/ILLUSTRATIONS

      
To see it in a better resolution, click here: 
Illustration no. 1
Illustration no. 2

 

KONTRA-AKUSTIKA 

Verily, the musician and composer 21st century is on the condition that the unrelenting and hardly can be real. Both are equally ambiguous game stuck on a production of sound of rapidly growing almost has no limitsthere are two large axis waves, the Rational Axis Shaft and the Emotional Wave Axis. 
  
Each of them has the characteristics of creation that are equally powerful, equally interesting, but when met, it sometimes gives rise to ideological conflicts of music creation that are not easily broken down with musical understandings. Rational Waves use a lot of scientific ways such as: artistic investigation, artistic research, adoption and adaptation of cultural theory, especially in order to compile and unravel the musical aspects of the composition. The result is that there is a certain complexity in measuring the results of his creation, it is here that music and science have difficulty mapping, since sound imaging is a consequence of abstract formulas that are not easily synchronized in the listener’s ears. 
  
The Rational Axis Shaft and the Emotional Wave Axis. Rational Waves use a lot of scientific ways such as: artistic investigation, artistic research, adoption and adaptation of cultural theory, especially in order to compile and unravel the musical aspects of the composition. The result is that there is a certain complexity in measuring the results of his creation, it is here that music and science have difficulty mapping, since sound imaging is a consequence of abstract formulas that are not easily synchronized in the listener’s ears. 
  
The Emotional wave considers sound imaging as the goal, so the selection of sound medium, artistic awareness, form, structure, is rooted through the musical sense of the maker.intuition becomes the main fuel of the musical creation process. The music aspect parameters are laid out to be subject to the system that applies to the intuition. 

When dealing with music reproduction technology devices / musical instruments, Rational Axis Waves trigger the creation of new media because of the need for a completely new reproduction system of sound or pemekaran only.the presence of sub-woofer, kontrabass, kontrabassoon are some examples of acoustic technology answers on the basis of the need for a lower sound system, as the ambitious widening of tone registers, so that music reproduction can be as wide as 20Hz to 20Khz.then all information on the phenomenon of acoustics, sound spectrum, harmonic structure and musical messages are an integral part of the achievement of its artistic value. 

While the Emotional Wave Axis are more preoccupied with the search for sounds that have never been created.resulting in technical variants, performative efforts interaction results between the creator with the instrument, as well as improvising the game intimately and exploitatively with the instrument. In this case, sometimes the sound that appears is not seprovokatif action interaction. 

Between these two axis our perceptions of sound are tested to decipher, interpret, understand and summarize the acoustic phenomena to the point of the last sound. The endless discussion of the dose between sound perception and the understanding of acoustic symptoms is required to be used to reach the conclusion of artistic dosage in listening to the latest musical works.ear and logic we experience “counter-acoustics”, which is a kind of acoustic perception widening. In such a situation we live and reap the sound. 

 
Gatot Danar Sulistiyanto
Artistic Director