Adi Wijaya

Beyond the Triad: Eksplorasi Harmoni Kwartal Dalam Komposisi musik, Studi Kasus Komposisi Musik Blizz (From The Theme of Suite Modale) dan Children Song. No.1

Introduction

Beyond the triad: eksplorasi harmoni kwartal dalam komposisi musik, studi kasus komposisi musik blizz (from the theme of suite modale) dan children song. No.1. Analisis mendalam harmoni kwartal dalam komposisi musik Blizz dan Children Song No.1. Temukan pembentukan, penerapan, dan fleksibilitasnya di berbagai tangga nada untuk inovasi komposer.

Abstract

Tulisan ini menganalisis penggunaan harmoni kwartal pada dua komposisi musik, yaitu Blizz (From The Theme of Suite Modale) dan Children Song No. 1. Melalui analisis mendalam, tulisan ini mengungkap bagaimana harmoni kwartal dibentuk dan diterapkan dalam konteks komposisi musik. Selain itu, studi ini juga mengeksplorasi penggunaan harmoni kwartal pada berbagai sistem tangga nada, seperti diatonik mayor, minor, dan modus. Analisis mencakup penggunaan berbagai teknik harmonik, seperti three note chord by fourth, four note chord by fourth, dan multi note chord by fourth. Selain itu hasil dari tulisan ini diharapkan mampu menunjukkan bahwa harmoni kwartal dapat menciptakan warna dan tekstur yang unik dalam komposisi musik, memberikan fleksibilitas dalam eksplorasi harmoni serta dapat menjadi sumber inspirasi bagi komposer dalam menciptakan karya-karya musik yang inovatif.

Review

This paper, "Beyond the Triad: Eksplorasi Harmoni Kwartal Dalam Komposisi musik, Studi Kasus Komposisi Musik Blizz (From The Theme of Suite Modale) dan Children Song. No.1," proposes an insightful exploration into the often-overlooked realm of quartal harmony in musical composition. By focusing on two specific works, Blizz (From The Theme of Suite Modale) and Children Song No. 1, the study aims to move beyond traditional tertian harmony, offering a fresh perspective on harmonic construction and application. The relevance of this work lies in its potential to enrich understanding of contemporary and non-traditional harmonic practices, providing valuable insights for both music theorists and aspiring composers seeking innovative sonic palettes. The methodology outlined appears to be a thorough and in-depth analysis of how quartal harmonies are formed and implemented within the selected compositions. The abstract clearly indicates a detailed examination of various quartal chord structures, specifically mentioning "three note chord by fourth, four note chord by fourth, dan multi note chord by fourth." Furthermore, the scope extends to investigating the deployment of these harmonies across different scalar systems, including diatonic major, minor, and various modes, suggesting a comprehensive approach to understanding their versatility and contextual application. This analytical rigor promises to illuminate the intricate mechanics behind the chosen harmonic language. The anticipated findings of this research are particularly compelling, as the authors expect to demonstrate that quartal harmony can indeed create unique "warna dan tekstur" (color and texture) in musical compositions. This flexibility in harmonic exploration is posited as a significant source of inspiration for composers aiming to produce innovative musical works. If successful, this study will not only deepen theoretical understanding of quartal structures but also serve as a practical guide and encouragement for creative experimentation. The paper holds strong potential to contribute meaningfully to the discourse on contemporary harmony and compositional techniques.

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