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'''Musik bising''' atau '''musik berisik''' adalah genre musik yang dicirikan oleh penggunaan bunyi yang ekspresif dalam konteks musik. Genre musik ini cenderung menantang perbedaan yang dibuat dalam praktik musik konvensional dan mengaburkan batas antara antara suara musik dan non-musik.<ref>Priest, Eldritch. "Music Noise" in ''Boring Formless Nonsense: Experimental Music and The Aesthetics of Failure'', p. 132. London: Bloomsbury Publishing; New York: Bloomsbury Academic, 2013.</ref> Musik kebisingan mencakup berbagai gaya musik dan praktik kreatif berbasis suara yang menampilkan kebisingan sebagai aspek utama.
'''Musik bising''' atau '''musik berisik''' adalah [[genre musik]] yang dicirikan oleh penggunaan bunyi yang ekspresif dalam konteks musiknya. Genre musik ini cenderung menantang perbedaan yang dibuat dalam praktik musik konvensional dan mengaburkan batas antara suara musik dan non-musik.<ref>Priest, Eldritch. "Music Noise" in ''Boring Formless Nonsense: Experimental Music and The Aesthetics of Failure'', p. 132. London: Bloomsbury Publishing; New York: Bloomsbury Academic, 2013.</ref> Musik kebisingan mencakup berbagai gaya musik dan praktik kreatif berbasis suara yang menampilkan kebisingan sebagai aspek utama.


Musik berisik dapat menampilkan suara yang dihasilkan secara akustik atau elektronik, dan alat musik tradisional dan tidak konvensional. Musik ini mungkin menggabungkan suara mesin langsung, teknik vokal non-musik, media audio yang dimanipulasi secara fisik, rekaman suara yang diproses, rekaman lapangan, kebisingan yang dihasilkan komputer, proses stokastik, dan sinyal elektronik lain yang dihasilkan secara acak seperti distorsi, umpan balik, statis, desis dan dengungan. Mungkin juga ada penekanan pada tingkat volume tinggi dan potongan yang panjang dan berkesinambungan. Secara lebih umum, musik yang bising mungkin mengandung aspek-aspek seperti improvisasi, teknik yang diperluas, hiruk-pikuk, dan ketidaktentuan. Dalam banyak kasus, musik ini mengabaikan penggunaan melodi, harmoni, dan ritme.<ref>Chris Atton, "Fan Discourse and the Construction of Noise Music as a Genre", ''Journal of Popular Music Studies'' 23, no. 3 (September 2011): 324–42. Citation on 326.</ref><ref>Torben Sangild, ''[http://www.ubu.com/papers/noise.html The Aesthetics of Noise]'' (Copenhagen: Datanom, 2002):{{Page needed|date=January 2013}}. {{ISBN|87-988955-0-8}}. Reprinted at [[UbuWeb]].</ref><ref>Paul Hegarty, ''Noise/Music: A History'' (London: Continuum International Publishing Group, 2007): 3–19.</ref><ref>Caleb Kelly, ''Cracked Media: The Sound of Malfunction'' (Cambridge, Ma.: [[MIT Press]], 2009): 60–76.</ref>
Musik bising dapat menampilkan suara yang dihasilkan secara akustik maupun elektronik, serta alat musik, baik alat musik tradisional maupun alat musik non konvensional. Musik ini mungkin menggabungkan suara mesin, teknik vokal non-musik, media audio yang dimanipulasi secara fisik, rekaman suara yang diproses, rekaman lapangan, kebisingan yang dihasilkan komputer, proses stokastik, dan sinyal elektronik lain yang dihasilkan secara acak seperti distorsi, umpan balik, statis, desis dan dengungan. Musik ini mungkin juga ada penekanan pada tingkat volume tinggi dan potongan yang panjang dan berkesinambungan. Secara lebih umum, musik yang bising mungkin mengandung aspek-aspek seperti improvisasi, teknik yang diperluas, hiruk-pikuk, dan ketidaktentuan. Dalam banyak kasus, musik ini mengabaikan penggunaan [[melodi]], [[harmoni]], dan [[ritme]].<ref>Chris Atton, "Fan Discourse and the Construction of Noise Music as a Genre", ''Journal of Popular Music Studies'' 23, no. 3 (September 2011): 324–42. Citation on 326.</ref><ref>Torben Sangild, ''[http://www.ubu.com/papers/noise.html The Aesthetics of Noise]'' (Copenhagen: Datanom, 2002):{{Page needed|date=January 2013}}. {{ISBN|87-988955-0-8}}. Reprinted at [[UbuWeb]].</ref><ref>Paul Hegarty, ''Noise/Music: A History'' (London: Continuum International Publishing Group, 2007): 3–19.</ref><ref>Caleb Kelly, ''Cracked Media: The Sound of Malfunction'' (Cambridge, Ma.: [[MIT Press]], 2009): 60–76.</ref>


== Catatan ==
== Catatan ==

Revisi per 27 Juli 2022 02.27

Musik bising atau musik berisik adalah genre musik yang dicirikan oleh penggunaan bunyi yang ekspresif dalam konteks musiknya. Genre musik ini cenderung menantang perbedaan yang dibuat dalam praktik musik konvensional dan mengaburkan batas antara suara musik dan non-musik.[1] Musik kebisingan mencakup berbagai gaya musik dan praktik kreatif berbasis suara yang menampilkan kebisingan sebagai aspek utama.

Musik bising dapat menampilkan suara yang dihasilkan secara akustik maupun elektronik, serta alat musik, baik alat musik tradisional maupun alat musik non konvensional. Musik ini mungkin menggabungkan suara mesin, teknik vokal non-musik, media audio yang dimanipulasi secara fisik, rekaman suara yang diproses, rekaman lapangan, kebisingan yang dihasilkan komputer, proses stokastik, dan sinyal elektronik lain yang dihasilkan secara acak seperti distorsi, umpan balik, statis, desis dan dengungan. Musik ini mungkin juga ada penekanan pada tingkat volume tinggi dan potongan yang panjang dan berkesinambungan. Secara lebih umum, musik yang bising mungkin mengandung aspek-aspek seperti improvisasi, teknik yang diperluas, hiruk-pikuk, dan ketidaktentuan. Dalam banyak kasus, musik ini mengabaikan penggunaan melodi, harmoni, dan ritme.[2][3][4][5]

Catatan

  1. ^ Priest, Eldritch. "Music Noise" in Boring Formless Nonsense: Experimental Music and The Aesthetics of Failure, p. 132. London: Bloomsbury Publishing; New York: Bloomsbury Academic, 2013.
  2. ^ Chris Atton, "Fan Discourse and the Construction of Noise Music as a Genre", Journal of Popular Music Studies 23, no. 3 (September 2011): 324–42. Citation on 326.
  3. ^ Torben Sangild, The Aesthetics of Noise (Copenhagen: Datanom, 2002):[halaman dibutuhkan]. ISBN 87-988955-0-8. Reprinted at UbuWeb.
  4. ^ Paul Hegarty, Noise/Music: A History (London: Continuum International Publishing Group, 2007): 3–19.
  5. ^ Caleb Kelly, Cracked Media: The Sound of Malfunction (Cambridge, Ma.: MIT Press, 2009): 60–76.

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Bacaan lanjutan

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