Angklung is a multitonal musical instrument (pitched double) traditionally developed in Sundanese society in western part of Java Island. This instrument is made of bamboo, sounded by shaking (sound caused by bamboo pipe body collision) to produce a vibrating sound in the tone of 2, 3, to 4 tones in each size, both large and small. Jonathan Rigg's Dictionary of the Sunda Language, published in 1862 in Batavia, writes that Angklung is a musical instrument made of bamboo tubes, cut into the edges, resembling pipes in an organ, and tied together in a frame, vibrated to produce sound. Angklung is listed as Masterpiece of Oral and Non-Angelic Cultural Heritage of UNESCO since November 2010.
The origin of angklung
There is no clue since when angklung was used, but it is suspected that its primitive form has been used in the Neolithic culture that developed in the archipelago until the beginning of modern calendar, so that angklung is part of pre-Hinduism relics in Nusantara culture.
Notes on the new angklung appear referring to the time of the Sunda Kingdom (12th century to 16th century). The origin of the creation of bamboo music, such as angklung based on the view of life of the agrarian Sundanese with the source of life from rice (pare) as a staple food. This gave birth to the myth of belief in Nyai Sri Pohaci as the symbol of the life giving Goddess of Rice (inhalation). The Baduy community, regarded as the remains of the original Sundanese people, applied Angklung as part of the ritual of initiating rice cultivation. The angklung gubrag game in Jasinga, Bogor, is one that has survived more than 400 years ago. Its emergence starts from the rice rite. Angklung was created and played to entice Dewi Sri down to earth for the people's rice plant to flourish.
Types of bamboo commonly used as a musical instrument is black bamboo (awi wulung) and bamboo ater (awi temen), which if dried yellow white. Each tone (barrel) is produced from the sound of its bamboo tube in the shape of a blade (wilahan) of each bamboo segment from small to large.
Known by the Sundanese people since the time of the Sunda kingdom, among them as an inspired spirit in the battle. The function of Angklung as a pumping spirit of the people still continues to be felt until the colonial period, that is why the Dutch East Indies government had banned the community using angklung, the ban had made the popularity of Angklung decline and only played by the children at that time.
Furthermore, the songs offerings against the Goddess Sri is accompanied by a companion of the sound of percussion made from bamboo stems are packaged simple which later was born structure of bamboo musical instrument that we know now called angklung. Similarly, at the time of harvest festival and seren taun dedicated angklung game. Especially in the presentation of Angklung associated with the rice ceremony, this art becomes a show that the nature of the procession or helaran, even in some places into the convoy of Rengkong and Dongdang and Jampana (stretch of food) and so forth.
In its development, Angklung developed and spread throughout Java, then to Kalimantan and Sumatra. In 1908 recorded a cultural mission from Indonesia to Thailand, among others marked the delivery of Angklung, then this bamboo music game had spread there.
Type of Angklung
Angklung Kanekes
Angklung in Kanekes area (we often call them Baduy people) is used mainly because of its relation to rice rites, not solely for the entertainment of the people. Angklung used or sounded when they planted rice in huma (fields). Anchoring angklung when planting rice is only free (dikurulungkeun), especially in Kajnia (Tangtu, Baduy Jero), and some with a certain ritmis, namely in Kaluaran (Baduy Luar). However, it can still be displayed outside the rice rite but still has rules, for example, it can only be beaten until the time of pare ngararan (curing rice), about three months from the time of planting rice. After that, for the next six months all art should not be played, and may be played again in the next rice-growing season. Closing angklung carried out with an event called musungkeun angklung, namely nitipkeun (deposit, save) angklung after use.
In the entertainment show, Angklung is usually held at moonlight and not rain. They played angklung in the quarry (wide yard in the countryside) while singing a variety of songs, among others: Lutung Kasarung, Yandu Bibi, Yandu Sala, Ceuk Arileu, Oray-orayan, Dengdang, Yari Gandang, Oyong-oyong Bangkong, Badan Kula, Kadooyoran, Ayun-swunan, Pileuleuyan, Gandrung Manggu, Rujak Gadung, Mulung Muncang, Giler, Ngaranggeong, Aceukna, Marengo, Salak Sadapur, Rendang Ngendong, Celementre, Keupat Reundang, Papacangan, and Culadi Dengdang. The drummer angklung as many as eight people and three drummers of small size drum make a standing position while walking in the formation of the circle. Meanwhile, others have ngalage (dancing) with certain movements that have been raw but simple. Everything is done only by men. This is different from Deep Daduy society, they are limited by custom with various rules of pamali (taboo), can not do excessive mundane pleasures. Art is solely for ritual purposes.
The names of angklung in Kanekes of the largest are: indung, ringkung, dongdong, gunjing, kongkok, indung leutik, torolok, and roel. Roel consisting of 2 pieces of angklung held by a person. Bedug names from the longest are: bedug, talingtit, and tap. The use of bedug instrument there is a difference, that is in the kampung Kaluaran they use 3 pieces of drum. In Kajeroan; Cikeusik village, using only bedug and talingtit, without tap. In Kajnia, Cibeo village, use only bedug, without talingtit and tap.
In Kanekes who have the right to make angklung are Kajarga people (Tangtu; Baduy Jero). Kajeroan consists of 3 villages, namely Cibeo, Cikartawana, and Cikeusik. In these three villages not everyone can make it, only those who have offspring and the right to do it in addition to the conditions of ritual. The famous angklung in Cikeusik is Amir's father (59), and at Cikartawana Ayah Tarnah. Kaluaran people buy from Kajaran people in the three villages.
Angklung Reyog
Angklung Reyog is a musical instrument to accompany Reyog Ponorogo Dance in East Java. Reyog's angklung is characterized by a very loud sounding sound, has two tones and an attractive rattan arch (unlike angklung generally cubic-shaped) with beautifully framed tassels. in telling angklung is a weapon from the kingdom bantarangin when fighting the kingdom lodaya in the 9th century, when victory by kingdom bantarangin the joyous warriors are no exception angklung holder, because the extraordinary strength of the rope lenggang up to produce a distinctive sound that klong- klok and klung-kluk when heard will feel the spiritual vibration.
Historically this Reyog angklung is used in movies: Warok Singo Cobra (1982), Kick From Heaven (2011)
And the use of angklung Reyog in music such as: tofu opo tempe, oath palapa, kuto reog, Resik Endah Omber Girang, and campursari smack ponorogoan.
Angklung Banyuwangi
Angklung banyuwangi has a form like calung with the tone of banyuwangi culture
Angklung Bali
angklung bali has typical Balinese shapes and tones,
Angklung Dogdog Lojor
Angklung Gubrag
Angklung gubrag is located in Cipining village, Cigudeg sub-district, Bogor. Angklung is old and used to honor the rice goddess in the activities of melak pare (rice cultivation), ngunjal pare (transporting rice), and ngadiukeun (put) to leuit (barn).
In mythical angklung gubrag began to exist when a period of Cipining village experienced a famine season.
Angklung Badeng
Badeng is a type of art that emphasizes the musical aspect with angklung as its main musical instrument. Badeng is in Sanding Village, Malangbong Sub-district, Garut. It used to function as entertainment for the benefit of Islamic da'wah. But allegedly badeng has been used by society since a long time before Islam for events related to rice planting ritual. As an art for da'wah badeng believed to develop since Islam spread in this area around the 16th century or 17. At that time the residents of Sanding, Arpaen and Nursaen, studying Islam to the kingdom of Demak. After returning from Demak they preach propagate the religion of Islam. One means of spreading Islam that he uses is with the art of badeng.
Angklung used as many as nine pieces, namely 2 angklung roel, 1 angklung kecer, 4 angklung indung and angklung father, 2 angklung child; 2 pieces of dogdog, 2 pieces of flying or gembyung, and 1 kecrek. The text uses the Sundanese language mixed with Arabic. In its development is now also used Indonesian language. The contents of the text contain Islamic values and good advice, as well as the need for the event. In the show in addition to presenting the songs, also presented a miraculous attraction, such as slicing the body with a sharp weapon.
Songs of badges: Lailahaileloh, Ya'ti, Kasreng, Yautike, Lilimbungan, Solaloh.
Bean
Beans is a performing arts that is entertainment, including Baros (Arjasari, Bandung). In the beginning beans are used on agricultural events related to rice. But at the present time the beans used as an entertainment art. This is related to the increasingly changing views of people who began to ignore the things that smell of old beliefs. The 1940s could be regarded as the end of the function of the bean ritual in the honor of the rice, since it has since transformed into an entertainment show. Similarly, the storage of rice (leuit, barn) began to disappear from people's homes, replaced with places more practical sacks, and easy to carry everywhere. Rice was now many are directly sold, not stored in the barn. Thus the bean art that was used for events ngunjal (carrying rice) is not needed anymore.
The name of the bean art is related to a popular song text among the people, ie cis nut beans nyengcle ..., and so on. The text is contained in the art of beans, so this art is called beans.
The instruments used in the art of beans are 2 angklung indung, 2 angklung ambrug, angklung panempas, 2 angklung pancer, 1 angklung enclok. Then 3 pieces of dogdog, consisting of 1 talingtit, panembal, and badublag. In its development then added with tarompet, kecrek, and goong. Angklung beans barreled salendro with vocal songs can be barreled madenda or degung. Bean songs include: Badud, Beans, Renggong, Senggot, Jalantir, Jangjalik, Ela-ela, Mega Beureum. Now beans songs have also used songs from the gamelan, with singers who had been male angklung players, now by a special woman to sing.
From some types of bamboo music in West Java (Angklung) above, are some examples only about angklung performing arts, which consist of: Angklung Beans (Priangan / Bandung), Angklung Badud (East Priangan / Ciamis), Angklung Bungko (Indramayu) Angklung Gubrag (Bogor), Angklung Ciusul (Banten), Angklung Dog Dog Lojor (Sukabumi), Badl Angklung (Malangbong, Garut), and Angklung Padaeng are identical with Angklung Nasional with diatonic scales, developed since 1938. Angklung typical Indonesia this comes from the development of angklung Sunda. The five-pearl Sunda Angklung (salendro or pelog) by Daeng Sutigna aka Si Etjle (1908-1984) changed its tone into a Western scale (solmization) so it can play various other songs. The results of the development are then taught to school students and played in large orchestras.
Angklung Padaeng
Angklung oneng is angklung introduced by Daeng Soetigna since about 1938. The breakthrough in angklung keeng is the use of Diatonic tone barrel which is in accordance with western music system. Thus, angklung can now play international songs, and can also play in Ensembel with other international musical instruments.
Angklung Sarinande
Angklung sarinande is a term for angklung keeng which only uses rounded tones alone (without chromatic tones) with basic tone C. The small unit of angklung sarinade contains 8 angklung (Do Nothing tone to Do High), while the sarinade plus contains 13 angklung (Low Sol tones Mi High).
Angklung Toel
Angklung toel was created by Kang Yayan Udjo around 2008. In this tool, there is a waist-high frame with some angklung lined up with the position upside down and given rubber. To play it, a player just toel the angklung, and angklung will vibrate for a while because of the rubber.
Angklung Sri-Murni
Angklung is the idea of Eko Mursito Budi specially created for the purposes of angklung robot. As the name implies, one angklung uses two or more voice tubes of the same tone, which will produce a pure (mono-tonal) tone. This is different from angklung padaeng multi-tonal. With this simple idea, robots easily play a combination of several angklung simultaneously to simulate the effects of angklung melodies and angklung akompanimen.
Game technique angklung
Playing a angklung is very easy. A person lives holding the chassis in one hand (usually the left hand) so that the angklung is hanging free, while the other hand (usually the right hand) wags it until it sounds. In this case, there are three basic techniques to shake the angklung:
Curl, is the most commonly used technique, where the right hand holds the base tube and vibrates left and right many times as long as the tone is about to be played.
Centok (jerk), is a technique in which the base tube is pulled rapidly by the finger to the right hand palm, so the angklung will sound just once (stacato).
Tengkep, similar to elderly but one of the tubes on hold did not participate vibrate. In angklung melody, this technique causes angklung to release a pure tone (one melodic tone only, not two as usual). Meanwhile, in angklung akompanimen major, this technique is used to play the major chord (3 tones), because if it is not played it is the dominant chord septim (4 tones).
Meanwhile, to play one unit angklung to bring a song, will be required many musicians led by a conductor. On each musician will be distributed one to four angklung with different tones. Then the conductor will prepare the song particles, with the writing of the strands of the tones that must be played. The conductor will give a signal, and each musician must play his angklung exactly as the tone and duration of the tap the conductor asks. In playing this song the players must also pay attention to the continuous technique, ie the tone that is being sounded should only be stopped as soon as the next tone starts to sound.
Practicing Angklung
Angklung will sound melodious and majestic if played rollicking with compact. For that, it takes preparation and practice long enough, led trainers who have enough understanding of general music and angklung. The stages of preparation are:
Select a song with the arrangement. Suitable songs are played with angklung generally rhythmically funny, and if there can be a bright part, so it can be improvised with the technique centok. The song then needs to be arranged specifically for angklung, with some voices. For practice, this arrangement is then written on a large piece of paper (usually in notation notes).
Prepare angklung unit according to arrangement. From angklung arrangement, can be known how many angklung required based on the range of song tone and balance intonasinya.
Gather players and distribute angklung to them. If there are players who hold many angklung, it should be noted that the player will never play two angklung at the same time. For that usually used table tonjur.
Heating. Before practice, you should first slow the feet and hands, then do the basic movements for the curl and the cock together.
Learn the song. Together, learn and track the flow of songs, where the verses and chorus to repeat. Gradually play this song under the leadership of the conductor. It is recommended that during the initial practice all the tones are centrally, do not first dikululung.
Memorize notes. Slowly the players are asked to memorize the song notes and parts of the game.
Improve the technique. This is the final polish stage, in which the conductor can begin to lead by emphasizing the simultaneity of the game, dynamics, or inspiration.
Choreography. If will appear dipentas, can begin to think of improvisation so that the players make an interesting movement, not standing rigid continuously.
Interactive Angklung
Interactive Angklung is an activity in which a conductor invites a lot of people, generally layman, to play angklung rollicking [6]. This activity can be done in a place of tourism or hospitality event. In the participants will be distributed angklung-angklung already numbered according to the tone. Then, the conductor will lead, usually by:
The conductor opens a large screen marked with a song in a number note, then invites the participants to play the right angklung by pointing the tone on the screen.
The conductor teaches hand signals for certain tones in the audience, then leads a song by giving the appropriate gestures in order for the participants to follow. This hand gesture was adapted by Mang Udjo, based on cues developed by John Curwen.
Previously, Mr. Daeng Soetigna used animal image cues to train kindergarten children.