Analisis Ritme Divisi dan Subdivisi Bagian Rap pada Lagu “Jogja Ora Didol”

Krisna Pradipta Tompo

doi:10.24821/invensi.v9i1.9129

Analisis Ritme Divisi dan Subdivisi Bagian Rap pada Lagu “Jogja Ora Didol”

Krisna Pradipta Tompo

Abstract

Ritme adalah salah satu aspek dasar dalam musik. Peran ritme yang dominan dalam musik, bahkan juga menjadi bagian dari aspek lain seperti melodi. Musik rap adalah salah satu jenis musik yang merepresentasikan dominasi ritme daripada pitch yang membuat istilah melodi dalam musik rap menjadi kurang cocok. Ritme kemudian menjadi ranah eksplorasi di mana salah satunya merujuk pada ritme divisi dan subdivisi. Riset ini bertujuan untuk menunjukkan bahwa ‘nyanyian’ dalam musik rap tidak jauh dari pengolahan ritme divisi dan subdivisinya. Metode yang digunakan adalah studi pustaka dengan pendekatan musikologis. Tahap riset secara garis besar adalah mendengarkan dengan saksama data audio, proses transkripsi ke notasi balok, dan analisis menggunakan teori ritme divisi-subdivisi. Hasil dan kesimpulan analisis menunjukkan bahwa bagian rap dari lagu “Jogja Ora Didol” didominasi oleh subdivisi yang mencapai 89 ritme masing-masing per ketukan, divisi dengan jumlah 30 ritme masing-masing per ketukan, 24 not ketukan dasar, dan sisanya adalah tiga triplet masing-masing per ketukan. Pengolahan ritme divisi-subdivisi tersebut memiliki gradasi nilai nada dan hierarki yang dibalik, yakni dari nilai terkecil yakni not seperenambelas ke nilai terbesar yakni not seperempat.

Rhythm Analysis of Rap Section Divisions and Subdivisions on the song "Jogja Ora Didol"

ABSTRACT

Rhythm is one of the fundamental aspects of music. The dominant role of rhythm in music is even part of other aspects, such as melody. Rap music is one type of music that represents the dominance of rhythm over pitch, which makes the term melody in rap music less suitable. Rhythm then becomes a field of exploration where one refers to the rhythm of division and subdivision. This research aims to show that 'singing' in rap music is not far from the processing of rhythmic divisions and subdivisions. The method used is a literature study with a musicological approach. The stages of the research are listening carefully to the audio data, transcribing it into music notation, and analyzing it using the division-subdivision rhythm theory. The results and conclusions of the analysis show that the rap part of the song Jogja Ora Didol is dominated by subdivisions that reach 89 rhythms each per beat, divisions with 30 rhythms each per beat, 24 introductory beat notes, and the rest are three triplets each per beat. The subdivision rhythm processing has a reversed pattern of pitch value and hierarchy, from the smallest value of sixteenth notes to the most significant value of quarter notes.

Keywords

musik rap, Jogja ora didol, ritme divisi subdivisi | rap music, Jogja ora didol, subdivision division rhythms

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DOI: https://doi.org/10.24821/invensi.v9i1.9129