Abstract
This article challenges the traditional definition of music, limited to seven fixed elements: melody, harmony, rhythm, pitch, tempo, dynamics, and texture. The author suggests that all sound can be considered 'sound art,' blurring lines between music and other auditory experiences. In Mark Fisher’s hauntology, modern music is depicted as stagnant, trapped in a neoliberal pastiche that cancels the future by repeating past styles without innovation. However, this article highlights alternatives through experimental music, such as the album ANTIMELODY (2024), which uses field recording to present raw environmental sounds, challenging conventional musical structures. Movements like Jogja Noise Bombing and experimental music group Senyawa explore noise-based sounds, rejecting traditional melodies and industrial nostalgia. Music distribution via Bandcamp or Senyawa’s decentralized approach challenges Spotify’s dominance, known for unfair royalty systems, by offering better artist compensation. This article argues that in the independent music scene, innovative alternatives persist, counteracting Fisher’s “cancellation of the future,” proving that new creativity can defy the haunting influence of past cultural forms.
References
Currin, Grayson Haver. 2021. “One Album Released by 44 Labels. Is This the New Global Jukebox?” The New York Times, 18 Februari 2021, bag. Arts. https://www.nytimes.com/2021/02/18/arts/music/senyawa-alkisah.html.
Demers, Joanna. 2009. “Field Recording, Sound Art and Objecthood.” Organised Sound 14 (01): 39. https://doi.org/10.1017/S1355771809000065.
Fisher, Mark. 2014. Ghosts of My Life: Writings on Depression, Hauntology and Lost Futures. Winchester, U.K: Zero Books.
Gallagher, Michael. 2015. “Field Recording and the Sounding of Spaces.” Environment and Planning D: Society and Space 33 (3): 560–76. https://doi.org/10.1177/0263775815594310.
Giacomo, Madison. 2024. “Spotify: A Strategic Analysis of a Digital Music Streaming Industry Leader.” Lincoln: University of Nebraska.
“Introduction to Fredric Jameson, Module on Pastiche.” t.t. Diakses 5 Desember 2024. https://cla.purdue.edu/academic/english/theory/postmodernism/modules/jamesonpastiche.html.
Menus, Indra. 2017. Jogja Noise Bombing: From The Street to The Stage. Cetakan pertama. Yogyakarta, Indonesia: Warning Books.
———. 2018. Pekak!: Skena Eksperimental Noise Asia Tenggara Dan Jepang. Cetakan kedua. Sleman: Warning Books.
Pelly, Liz. 2025. Mood Machine: The Rise of Spotify and the Costs of the Perfect Playlist. Hardcover. New York: Atria/One Signal Publishers.
Reader, James. 2021. “Hauntology, Or the Cultural Logic of Neoliberalism.” Master Thesis, Canterbury Christ Church University.
Setyawan, Aris. 2021. Aubade: Kumpulan Tulisan Musik. Yogyakarta: Arung Wacana. https://www.goodreads.com/book/show/57960512-aubade.
———. 2023. “Sayangi Telingamu, Dengarkan Musik dengan Volume Sewajarnya.” Pophariini, 9 Maret 2023. https://pophariini.com/sayangi-telingamu-dengarkan-musik-dengan-volume-sewajarnya/.
Tri Hendrawan Manurung, Gregorius, dan Khothibul Umam. 2022. “Reissuing Indonesian Independent Music: Technology-Mediated Nostalgia, Hauntology and Future Projection.” Disunting oleh B. Warsito, D. Sutiningsih, dan F. Muhammad. E3S Web of Conferences 359:02017. https://doi.org/10.1051/e3sconf/202235902017.
Tsunoda, Toshiya. 2009. “Field Recording and Experimental Music Scene.” erstwords (blog). 7 Juli 2009. https://erstwords.blogspot.com/2009/07/field-recording-and-experimental-music.html.
Bahasa Abstract
Artikel ini menantang definisi musik tradisional yang membatasi musik pada tujuh unsur baku: melodi, harmoni, ritme, nada, tempo, dinamika, dan tekstur. Penulis berpendapat bahwa semua suara dapat dianggap sebagai 'seni suara,' menghapus batasan antara musik dan pengalaman auditory lainnya. Di dalam konsep hauntology Mark Fisher, musik modern digambarkan stagnan, terjebak dalam pastiche neoliberal yang membatalkan masa depan dengan mengulang gaya lama tanpa inovasi. Namun, artikel ini menyoroti alternatif melalui musik eksperimental, seperti album ANTIMELODY (2024) yang menggunakan field recording untuk menghadirkan suara alam mentah, menantang struktur musik konvensional. Gerakan seperti Jogja Noise Bombing dan kelompok musik Senyawa mengeksplorasi suara noise, menolak melodi tradisional dan nostalgia industri. Distribusi musik via Bandcamp atau pendekatan desentralisasi Senyawa menantang dominasi Spotify, yang dikenal memiliki sistem royalti tidak adil, dengan menawarkan kompensasi lebih baik bagi seniman. Artikel ini berargumen bahwa di ranah musik samping, alternatif musik inovatif masih ada, menentang “cancellation of the future” Mark Fisher, membuktikan bahwa kreativitas baru dapat mengatasi pengaruh budaya masa lalu.
Recommended Citation
Setyawan, Aris
(2025)
"ANTIMELODY, FIELD RECORDING, GERAKAN MUSIK EKSPERIMENTAL, DAN HANTU BARU YANG MENOLAK HANTU LAMA HAUNTOLOGY,"
Multikultura: Vol. 4:
No.
2, Article 8.
DOI: 10.7454/multikultura.v4i2.1153
Available at:
https://scholarhub.ui.ac.id/multikultura/vol4/iss2/8
