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Estética Del Error, Nostalgia Y Ritmo a Través De La Mediación Tecnológica En El Lofi Hip-Hop

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Estética Del Error, Nostalgia Y Ritmo a Través De La Mediación Tecnológica En El Lofi Hip-Hop ISSN: 2014-4660 ISSN: 2014-4660 Estética del error, nostalgia y ritmo a través de la mediación tecnológica en el lofi hip-hop MANUEL LAGULLÓN OLIVARES 2020. Cuadernos de Etnomusicología Nº15(2) Palabras clave: mediación tecnológica, lofi hip-hop, estética del error, ritmo, producción. Keywords: technological mediation, lofi hip-hop, aesthetics of error, rhythm, production. Cita recomendada: Lagullón, Manuel. 2020. “Estética del error, nostalgia y ritmo a través de la mediación tecnológica en el lofi hip-hop”. Cuadernos de Etnomusicología. Nº15(2). <URL> (Fecha de consulta dd/mm/aa) Esta obra está sujeta a la licencia de Reconocimiento-NoComercial-SinObraDerivada 4.0 España de Creative Commons. 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NÚMERO 15 (2)– OTOÑO 2020 157 ISSN: 2014-4660 ESTÉTICA DEL ERROR, NOSTALGIA Y RITMO A TRAVÉS DE LA MEDIACIÓN TECNOLÓGICA EN EL LOFI HIP-HOP Manuel Lagullón Olivares Resumen La música popular mediada tecnológicamente suele tender a buscar la perfección matemática en su interpretación. Sin embargo, encontramos músicas que evitan deliberadamente los parámetros de mejora sonora e interpretativa, reivindicando una suerte de estética del error. En cuestiones de ritmo, Anne Danielsen (2010) divide estas dos vertientes como "virtuosismo exagerado" y "expresividad exagerada". En esta segunda categoría encontramos diferentes ramas del hip-hop, que parten de conceptos rítmicos de la música afroamericana que imprimen cierta irregularidad en la interpretación, como son las ideas de swing, groove o feel. La exageración de estas figuras rítmicas a través de los medios de producción digitales creó una nueva concepción de la síncopa casi errática. Este tipo de movimiento microrrítmico se consolidó en el hip-hop experimental de finales de los años 90, para después pasar a otras corrientes creativas tanto dentro como fuera del hip-hop. El lofi hip-hop es un subgénero que toma tanto las ideas rítmicas del hip hop experimental (el error interpretativo) como una estética sonora basada en la degradación de las fuentes y la baja fidelidad (el error mecánico). Los criterios estéticos a partir de los cuales los productores de lofi hip-hop crean sus piezas parten de una negociación tecnológica en la que se rechazan algunas de las herramientas de perfeccionamiento sonoro que la tecnología digital permite, y a su vez se adoptan criterios estéticos y procedimentales que rememoran la tecnología del pasado. A partir del estudio de los procesos creativos y la configuración sonora identificativa del lofi hip-hop buscamos ubicar las decisiones estéticas y técnicas que lo definen estilísticamente. Para ello exploraremos la mediación tecnológica y su vinculación con el subgénero, partiendo de entrevistas realizadas a productores dedicados a este. Palabras clave: mediación tecnológica, lofi hip-hop, estética del error, ritmo, producción. NÚMERO 15 (2)– OTOÑO 2020 158 ISSN: 2014-4660 Abstract Technologically mediated popular music tends to mathematical perfection in its interpretation. However, we find music that deliberately avoids the parameters of sonic and interpretive improvement, claiming a sort of aesthetics of error. In terms of rhythm, Anne Danielsen (2010) divides these two aspects as exaggerated virtuosity and exaggerated expressivity. In this second category, we find different tendences of hip-hop, which have as a reference rhythmic concepts of African-American music that print a certain irregularity in the rhythmic performance, such as the ideas of swing, groove or feel. The exaggeration of these rhythmic figures through the means of digital production created a new conception of almost erratic syncopation. This type of micro- rhythmic movement was consolidated in the experimental hip-hop of the late 90s, later transferred to other creative currents both inside and outside hip-hop. Lofi hip-hop is a subgenre that takes both the rhythmic ideas of experimental hip hop (performative error) and a sonic aesthetic based on the degradation of the musical sources and low fidelity (mechanical error). The aesthetic criteria from which producers of lofi hip-hop create their pieces are based on a technological negotiation in which part of the sound improvement tools that digital technology allows are rejected and, in turn, are adopted procedures that recall the past technologies. From the study of creative processes and the identifying sound configuration of lofi hip-hop, we will try to locate the aesthetic and technical decisions that define it stylistically. To do this, we will explore technological mediation and its link with the subgenre, based on interviews with producers dedicated to it. Keywords: technological mediation, lofi hip-hop, aesthetics of error, rhythm, production. NÚMERO 15 (2)– OTOÑO 2020 159 ISSN: 2014-4660 Estética del error y ritmo en tiempos de la perfección digital En la música popular grabada encontramos dos tendencias estéticas opuestas. La primera de ellas es la búsqueda de la perfección, tanto en términos performativos como de calidad sonora. La segunda consiste en el rechazo de los valores de la anterior, y busca la naturalidad mediante una tendencia al error. Esta puede resultar sencilla en grabaciones de instrumentos acústicos, pero cuando nos adentramos en procesos creativos digitales o informáticos se vuelve difusa. Los dispositivos electrónicos suelen facilitar el sonido limpio y el perfeccionamiento interpretativo de forma matemática, así que la inclusión de errores provendría de una decisión voluntaria del creador. Sería una simulación del error deliberada, tanto performativamente como en términos de diseño sonoro. Sin embargo, encontramos corrientes musicales actuales que buscan el error y la imprecisión en ambos sentidos, como el lofi hip-hop, una de las músicas nativas de internet más populares. Este subgénero del hip-hop instrumental busca el error humano en la interpretación rítmica, acercando la sonoridad final de las piezas a las características tímbricas imperfectas de tecnologías previas. El ritmo en la música popular de ascendencia afroamericana es una característica esencial en su concepción y ejecución hasta el punto de que ciertos patrones rítmicos y el movimiento microrrítmico dentro de los mismos pueden ser la característica identitaria principal entre estilos o géneros. Conceptos como el groove, feel o swing hacen referencia a este movimiento microtemporal, normalmente se refieren a la sección rítmica de un grupo, aunque son atribuibles al uso del ritmo en todos los instrumentos. El groove “se crea dentro de una pieza musical desplazando los elementos temporales y dinámicos respecto al pulso o nivel dinámico esperado”1 (Whittal 2015), se atribuye a una percepción subjetiva del pulso por parte del intérprete, que desplaza deliberadamente ciertos elementos para conseguir un resultado específico dentro del conjunto rítmico de una pieza o sección. Por otra parte, el feel “es lo que añaden los músicos a una estructura rítmica rígida a través de su interpretación” (Danielsen 2016: 1), la aportación humana individual a la 1 Todas las citas originales en inglés han sido traducidas al castellano por el autor de este artículo. NÚMERO 15 (2)– OTOÑO 2020 160 ISSN: 2014-4660 ejecución de un groove. De esta manera podemos separar las estructuras rítmicas en tres tipos. El primer tipo responde a la concepción teórica del ritmo, a la notación simplificada de los ritmos, correspondiente a figuras no menores que la semicorchea2. El segundo nivel es la variación correspondiente al groove, donde la ubicación de las notas no equivale a lo anotado en la partitura. Un ejemplo claro de esto es el swing en el jazz, donde las corcheas no tienen una distancia igual entre sí, sino que a pesar de escribirse como corcheas iguales el sonido es de tresillo, en el que la primera corchea ocupa dos partes del valor total y la segunda corchea tomaría el espacio de la tercera nota del tresillo (Datseris et al. 2019; Câmara 2016). Este segundo nivel es una desviación rítmica transcribible literalmente con figuras de notación tradicional, aunque el intérprete no lo conciba con esas figuras (como el tresillo), sino con otras que no respetan desde el punto de vista de la lectoescritura3. El tercer nivel (microrrítmico) corresponde al feel, se trata de variaciones aún menores, que dependiendo del intérprete pueden ser más o menos acentuadas. Estos movimientos son complejos a la hora de transcribir, ya que corresponden a figuras muy breves y desiguales. El feel sería una microvariación de la ubicación temporal de la nota respecto a una concepción metronómica del tempo. Esta serie de conceptos entroncan directamente con la aportación e importancia del intérprete (de un instrumento "acústico") dentro del sonido general de una pieza. ¿Cómo afecta entonces la intervención de la tecnología a estas ideas? El groove y la estética del error A pesar de que groove o feel son atribuidos directamente a la aportación humana a una pieza, hay estilos de música que mantienen estas cualidades en el ritmo, pero producidas parcial o íntegramente a través de máquinas. Anne Danielsen (2016) identifica dos tendencias generales derivadas de la 2 La semicorchea se suele tomar como valor mínimo en la concepción de un ritmo en música popular para simplificar los patrones.
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