Angklung is a musical instrument multitonal (double pitched) is traditionally grown in the Sundanese-speaking community in the western part of Java Island. This musical instrument made of bamboo, sounded shaken by the way (the sound caused by impact bodies of bamboo pipes) so as to produce a vibrating sound in the arrangement of tones 2, 3, and 4 tones in every size, both large and small. Angklung is listed as Masterpieces of the Oral and Cultural Heritage of UNESCO Human Nonbendawi since November 2010.
The origins
There
is no indication since when angklung used, but supposedly primitive
forms have been used in Neolithic culture that developed in the
archipelago until the beginning of the modern calendar, so that angklung
is part of the relics of pre-culture of Hinduism in the archipelago.Notes on the emerging angklung referring to the Kingdom of Sunda (the 12th century until the 16th century). The
origin of the creation of the music of bamboo, such as the angklung is
based on the view that the agrarian life of the Sunda with the lifeblood
of rice (pare) as a staple food. This gave rise to the myth of confidence in Sri Nyai Pohaci as a symbol of life-giving Goddess of Rice (breathe-hurip). Bedouin
society, which is regarded as the remnants of the original Sundanese,
apply angklung as part of the ritual began planting rice. Gubrag angklung game in Jasinga, Bogor, is one that is still alive since more than 400 years ago. Appearance of the rite begins with rice. Angklung is created and played for Dewi Sri lure down to earth so that the people of rice plants to flourish.Species of bamboo which is used as the instrument is a black bamboo (awi wulung) and white bamboo (awi friend). Each
tone (barrel) resulting from the sound of tube-shaped bamboo slats
(wilahan) each segment of bamboo from small to large sizes.Known by the Sundanese since the Sunda kingdom, of which as penggugah spirit in battle. Angklung
as a function of pumping the spirit of the people still continued to
feel until the colonial period, that is why the Dutch government could
ban the use of angklung, the ban could make angklung popularity declined
and only played by children at that time. [Citation needed]
The
next song offerings to Dewi Sri is accompanied by the sound of
percussion accompaniment made of bamboo poles are simple packaged
structure which then was born the bamboo musical instrument we know
today called angklung. Similarly, at the time of harvest festival and is dedicated game angklung seren epidemic. Especially
in the presentation ceremony Angklung related to rice, this art became a
nature show or helaran procession, even in some places into the convoy
and Dongdang Rengkong and Jampana (stretcher food) and so on.During its development, angklung evolved and spread throughout Java, and Borneo and Sumatra. In
1908 recorded a cultural mission from Indonesia to Thailand, among
others, characterized the submission angklung, bamboo music and games
also had spread there.In
fact, since 1966, Udjo Ngalagena angklung figures who developed the
technique based on the barrel-barrel game pelog, salendro, and
madenda-start teaching how to play angklung to many people from various
communities.
Angklung Types
- Angklung Kanekes
Angklung
Kanekes area (we often call them the Bedouin) are used primarily in
connection with the rites of rice, not solely for the entertainment of
people. Angklung is used or is sounded when they grow rice in the field for dry rice cultivation (fields). Beating
the angklung when there are only growing rice sounded free, especially
in Kajeroan (Tangtu; Baduy Jero), and there is a certain rhythm, which
is in Kaluaran (Outer Baduy). Nevertheless,
it can still be displayed on the outside but still have a rite paddy
rules, for example, may only be beaten until the rice treat, about three
months from the time planted rice. After
that, during the next six months all the arts should not be played, and
can be played again on the next rice planting season. Closing the angklung performed with a show called angklung, namely (left, save) angklung after use.In serving the entertainment, Angklung usually held at full moon and no rain. They
play the angklung in the game (the page in the rural area) while
singing various songs, among others: monkey Kasarung, Yandu Bibi, Yandu
Sala, Ceuk Arileu, Oray-orayan, Dengdang, Yari Gandang, Oyong-Bangkong
squash, Kula Agency, Kokoloyoran,
Swing, swing, Pileuleuyan, Gandrung Manggu, Rujak Gadung, Mulung
Muncang, giler, Ngaranggeong, Aceukna, Marengo, Salak Sadapur, Rangda
Ngendong, Celementre, Keupat Reundang, Papacangan, and Culadi Dengdang. The
drummers angklung eight people and three drummers drum small size makes
the standing position while walking in a circle formation. Meanwhile, others have a dance with a certain movement that has been standard but simple. Everything is done only by men. This
is in contrast to the Daduy in, they are limited by the customary rules
abstinence, should not be doing things the excessive pleasures. Art solely for ritual purposes.The
names of angklung in Kanekes of the biggest is: ovarian, ringkung,
Dongdong, gossip, engklok, ovarian leutik, torolok, and Roel. Roel which consists of 2 pieces of angklung is held by a. The names of the longest drum are: drum, talingtit, and tap. The use of drum instruments there is a difference, namely in the villages they used drum Kaluaran of 3 pieces. In Kajeroan; Cikeusik village, just use a drum and talingtit, without tap. In Kajeroan, Cibeo village, just use the drum, without talingtit and percussion.In Kanekes angklung is entitled to make people Kajeroan. Kajeroan consists of three villages, namely Cibeo, Cikartawana, and Cikeusik. In
all three villages are not everyone can make it, only the right to have
offspring and are working on in addition to the terms of the ritual. Makers in Cikeusik famous angklung is Amir's father, and the father Cikartawana Tarnah. People buy from people Kajeroan Kaluaran in the three villages.
- Angklung Dogdog Lojor
Lojor dogdog art contained in the Kasepuhan Pancer Pangawinan or South Banten customs union scattered around the Mist Mountain (adjacent to Jakarta, Bogor, and the valley). Although this art is called dogdog lojor, the name of one of the instruments in it, but there are also used angklung because the rituals related to rice. Once a year, after harvest the whole community events, or Seren Taun Taun to Deliver on customary village center. Traditional village center as a place of residence kokolot (elders) where they are always moving as directed supernatural.Tradition of respect for the people of rice is still carried out because they include people who still adhere to old customs. By tradition they claim to be descendants of the officers and soldiers in the palace Pajajaran baresan Pangawinan (soldier armed with a lance). Kasepuhan community has embraced Islam and somewhat open to the influence of modernization, as well as matters of entertainment pleasures can be enjoyed. This attitude also affect the function of art in terms since about the 1970s, dogdog lojor has been progressing, which is used to enliven the circumcision of children, marriage, and other festive events. Instruments used in the art are two pieces dogdog lojor dogdog lojor and 4 pieces of angklung. These four pieces of angklung has a name, the largest so-called bark, then panembal, kingking, and inclok. Each instrument is played by one, so that all six people.Songs include dogdog lojor Bale Agung, Side Hideung, shaky-shaky Papanganten, Si Kawung stumps, Adulilang, and Adu-complaint. These songs form a rhythmic vocal dogdog and tend remains the angklung.
- Angklung Gubrag
Angklung gubrag Cipining there in the village, district Cigudeg, Bogor. Angklung is already old and used to honor the goddess of rice in the rice planting activities, carrying rice, and put into the barn.
In the myth angklung gubrag started there was a time when the village Cipining had a bad season.
In the myth angklung gubrag started there was a time when the village Cipining had a bad season.
- Angklung Badeng
Badeng is a type of art that emphasizes the angklung musical terms as a primary instrument. Sanding Badeng contained in the Village, District Malangbong, Garut. It used to serve as entertainment for the sake of Islam. But is thought to have been used Badeng of society since long before Islam for events related to rice planting ritual. As a trusted art to preach Badeng developed since Islam spread in the area around the 16th century or 17th. At that time the population Sanding, Arpaen and Nursaen, studied Islamic religion to the kingdom of Demak. After returning from their preaching Demak spread Islam. One of the tools it uses to spread Islam is the art Badeng. Angklung is used as many as nine, which is 2 Roel angklung, angklung intelligences 1, 4 angklung angklung ovaries and father, two children angklung; 2 dogdog fruit, fruit flies or gembyung 2, and 1 kecrek. Sundanese language text is mixed with Arabic. In development now also used Indonesian language. Contains the text content of Islamic values and good counsels, and according to the needs of the event. In addition to presenting performances of songs, also presented his supernatural powers attractions, such as slicing the body with a sharp weapon.Badeng songs: Lailahaileloh, Ya'ti, Kasreng, Yautike, Lilimbungan, Solaloh.
- Angklung Padaeng
Angklung Angklung Padaeng was introduced by Daeng Soetigna since about 1938. Breakthrough in Padaeng angklung tone diatonic tunings are used in accordance with the system of western music. Thus, the angklung is now able to play international songs, and also can play in ensemble with other international instruments.In accordance with Teori_musik, angklung Padaeng specifically made into two major types namely:
Angklung melody, which is physically angklung consists of two or more tube sound, with a different tone one octave. At one unit angklung, generally there is:
Angklung little melody, consisting of 31 angklung.
Angklung great melody, also called bass-party, consisting of 11 angklung.
Accompaniment angklung, angklung is used as an accompanist to play harmony notes. Voice tube there are 3 or 4, according to the diatonic chords. An angklung standard unit typically have:
Angklung accompaniment as well as major dominant chord septim, angklung consists of 12 pieces.
Minor accompaniment angklung, angklung consists of 12 pieces.
Angklung little melody, consisting of 31 angklung.
Angklung great melody, also called bass-party, consisting of 11 angklung.
Accompaniment angklung, angklung is used as an accompanist to play harmony notes. Voice tube there are 3 or 4, according to the diatonic chords. An angklung standard unit typically have:
Angklung accompaniment as well as major dominant chord septim, angklung consists of 12 pieces.
Minor accompaniment angklung, angklung consists of 12 pieces.
Mr. Daeng use angklung creations to train children scout (scout earlier times). No wonder the songs they played the song while it is generally required. Some relics of the original arrangement Daeng Soetigna such as "One Nusa One Nation", "Mother We Kartini", or "Compulsory Education". Sometime in the 1980s, the KPA SMA 3 Bandung standing with young pioneers like Djoko, Budi Supardiman, and Asep Suhada. They began arranging Padaeng angklung music for modern Indonesia as "September Ceria" (Vina_Panduwinata), "My God" (Ruth_Sahanaya) and "Bright" (Krakatau_ (grup_musik)), even venturing into the international music ranging from "Yesterday" (Beatles ), "Another Day in Paradise" (Phil_Collins), to "Bohemian Rhapsody" (Queen).
Of Engineering Angklung Playing
Plays a very easy angklung. A person living in one of the frame holding the hand (usually left hand) so that the angklung hang freely, while the other hand (usually right hand) shake it up to read. In this case, there are three basic techniques to shake angklung:
Kurulung (vibration), is the most common technique used, where the right hand holding the tube base and moving from side to side several times over the tone to be played.
Centok (snapped), is a technique where the basic tube is pulled quickly by a finger into the palm of his right hand, so the angklung will beep once (stacato).
Tengkep, much like kurulung but one did not participate tabug held vibrating. In the angklung melody, this technique causes the angklung pure tones (one tone melody only, not two as usual). Meanwhile, the major accompaniment angklung, the technique used to play a major chord (3 tones), otherwise the play is tengkep septim dominant chords (4 note).
Centok (snapped), is a technique where the basic tube is pulled quickly by a finger into the palm of his right hand, so the angklung will beep once (stacato).
Tengkep, much like kurulung but one did not participate tabug held vibrating. In the angklung melody, this technique causes the angklung pure tones (one tone melody only, not two as usual). Meanwhile, the major accompaniment angklung, the technique used to play a major chord (3 tones), otherwise the play is tengkep septim dominant chords (4 note).
Meanwhile, to play the angklung unit to deliver a song, it will take a lot of musicians led by a conductor. At each musician will be distributed one to four angklung with different tones. Then the conductor will prepare the scores of songs, with text message tones to be played. Conductor will give the signal, and each musician should play the angklung to exactly fit the tone and beat of the requested length of the conductor. In this play the player must also consider the continuous technique, the tone is sounded only be stopped immediately after the next start beeping tone.
The Voice Tubes
The most important part of an Angklung, is the voice tubes which produce intonation. Tuning process makes the intonation.
The Frame
Frame supports the voice tubes to stand inside the hollow space.
The Base
It functions as the frame of the voice tubes.
It is the process of Shaping the bamboo become laths of voice tube.
Resonance Tuning Process
It is the process of blowing the lower part of an Angklung to the floor and measuring it to the tuner.
Main Voice Tuning Process
It is the process of tuning the voice by increasing and decreasing the tone by striking voice. Also it is the process of increasing the tone by cutting its upper parts slightly, and decreasing the tone by shaping both voice laths with shaping knife.
How to Use a Tuner:
Making Angklung
1. Choosing The Bamboo
Bamboo is the material of an Angklung. It is choosing by its age. It has
to be at least 4 years old and not more than 6 years old. It is cut in
the dry season, between 9 am and 3 pm at the afternoon. After being cut
at its base, with the size about 2-3 span of the hand, it should be
stored for about 1 week, so that the bamboo will contain less water.
After a week, the bamboo should be separated from its branches. It should be cut into certain various sizes. Then, it should be stored for about one year to prevent it from termites. Some of the procedures are: by sinking out the bamboo beneath mud field, pool or river, also by smoking it at the fireplace, and the modern procedure: by using a certain liquid chemistry formula.
2. The Parts Of Angklung
Each Angklung consist of 3 parts:
The Voice TubesThe most important part of an Angklung, is the voice tubes which produce intonation. Tuning process makes the intonation.
The Frame
Frame supports the voice tubes to stand inside the hollow space.
The Base
It functions as the frame of the voice tubes.
3. Tuning The Voice Tube Process
Half-Done ProcessIt is the process of Shaping the bamboo become laths of voice tube.
Resonance Tuning Process
It is the process of blowing the lower part of an Angklung to the floor and measuring it to the tuner.
Main Voice Tuning Process
It is the process of tuning the voice by increasing and decreasing the tone by striking voice. Also it is the process of increasing the tone by cutting its upper parts slightly, and decreasing the tone by shaping both voice laths with shaping knife.
How to Use a Tuner:
- To use a tuner, we should pay attention to both of the lamps on the left and the right of the panel, and also the pointer needle.
- For example, if you’re going to make an “F” tone, you should shake the Angklung while paying attention to both of the lamps which will flame together, and the to pointer needle which will point the “F” letter.
4. Finishing
After each of the voice tubes has its tone, it should be put into the frame laths and be tied of rattan rope.
5. Maintenance
Re-Tuning Angklung
1. If the tone of angklung is higher than the normal tone, the angklung
(side A) can be whittled by knife little by little until it reaches the
tone wished.
2. If the tone of angklung is lower than the normal tone, the end of
angklung (side B) can be cutr little by little until it reaches the
normal tone.
Maintain Angklung
Since Angklung is made of bamboo, its construction and endurance are not as good as those of metallic things. Therefore, it needs good maintenance and storage. Good Angklung is made of old and dry bamboo. It takes at least one year to store the bamboo material in order to get the proper/high-pitched voice and to prevent termites. It endurances can be fifteen years, providing it is in a good maintenance.
In our place (Saung Angklung Udjo) we have tried to make the Angklung from the very dry bamboo. However, nowadays we haven’t got the supply of one – year-old bamboo, but only eight – month – old one. This condition is caused by the limitation of its availability and storage. Moreover, it needs high production cost.
Nevertheless, to get the good Angklung in such condition, we can do the following maintenance:
- When Angklung arrives in a new place, it should be set/hanged in the standard (don’t let it be kept in its packaging). Before using it, we should check the set of Angklung one by one; in case it is subject to termites. We should do this at least one in three days. While checking, mix Pringgawasih Prima liquid with water 1 : 2, spray the Angklung with it. The most important thing is that if the bamboo is 100% dry, the termites attack will not happen. In turn, the Angklung will be free of termites .
- The storage should be dry, not moist. After about four – month – storage, it is no problem if Angklung is put in a room with AC, but at least once a week it should be checked while being cleaned from the dust that is in and out of the tubes.
- The movement of Angklung from our place (Saung Angklung Udjo) to the new place (the place of consumer) may effect the voice (usually up about 30 Hz) because of the different condition of air temperature. To solve this problem, we should re-tuning the Angklung. Re-tuning is usually done six months after the movement; it means the Angklung has been dry at all.
- In an area with higher temperature, like Jakarta, sometimes, the base of
voice tube cracks. It does not effect the voice but it only needs wood
adhesive. However, it the bas of tube or the big tube breaks, the
Angklung should be changed (this break is not because of the natural
condition but of falling down or being in a tight spot).
Character
About Bamboo
BAMBOO including the family Gramineae (grass) that gives meaning to
many people, such as wheat, and rice. Bamboo is cosmopolitan, which
means that can live in hot and cold areas, in swamps, cliffs, mountains,
in the highlands and low, and have characteristics easily grow back
after a disaster, whether drought, fire or vandalism. Bamboo is an
ancient plant that has become the inhabitants of earth from 200,000,000
years ago (David Farrelly, 1938: 7).
Magic plants that grew the fastest in the world reached a height of
47.7 inches per 24 hours or even 121 centimeters per 24 hours (Nagaoka, 1938:53).
Characteristics of Bamboo
- Bamboo are flexible
- Grow in upland areas and low, and group
- Long leaves and buds breed
- Up to age 3 years harvested
- Easy to breed and grow faster than wood
Kind of Bamboo used to make Angklung
- Gombong Bamboo (Gigantochloa Pseudoarundinacea (Steud.) Widjaja)
- Black Bamboo or Awi Hideung (Gigantochloa Atroviolacea Widjaja)
- Temen Bamboo or Awi Temen (Gigantochloa Atter (Hassk.) Kurz)
- Tali Bamboo or Awi Tali (Gigantochloa Apus (J.A & J.H Schultes) Kurz)
The four kinds of bamboo are the best bamboo because they have better
distribution of fibers than other kind of bamboo, so they can produce
good quality sound.
We have to know that besides unique, the instruments that made from bamboo have natural weaknesses, such as:
1. The elasticity of bamboo/ the nature of deflation and expansion
The weather and climate can cause the change of tone that has been formed in angklung. The tone can be higher if the bamboo deflates or lower if the bamboo expands. The elasticity of bamboo depends on the density of that bamboo. If the bamboo is less dense, the elasticity will be larger so the tone will change easily. But if the bamboo quite dense, the elasticity will be smaller so the change of tone almost invisible. The dense bamboo is the best bamboo to be made angklung. This elasticity can be prevented by doing re-tuning.
2. Bamboo becomes crack/ broken because of climate change
The strength of bamboo is different with the strength of metal towards the drastic climate change, or very hot or very cold temperature. In hot temperature, the bamboo will easily crack or even broken. It makes the tone that has formed broken and cannot be saved. While in the cold temperature, the bamboo will deflate so it affects the tone.
3. Bamboo becomes broken because of termites
Termites are natural pests of every kind of bamboo. Termites eat cellulose that contains in bamboo. There are almost 2000 species of termite in the world (some of them, in about 120 species are pests). In our country, there are about 200 species of termite and only 20 species that had been known as a pest that can damage wood and plants. Termites can damage both inside and outside the bamboo. The termites that damage bamboo come from larva which can be found inside the bamboo or from outside termites.
The natural prevention of termite can be done by lose or decrease the cellulose that contains in bamboo. Former times, fumigation and soak in a river that has strong current were believed to be a way to decrease the content of cellulose in bamboo. In this modern era, there are many kinds of anti-termites that can kill termites effectively. To prevent bamboo from termite, the use of anti-termites is suggested and used regularly.
His love to bamboo is realized by planting bamboo around his residence. There are three plants around his residence which he loves much and people should not cut them down. Those trees are given name BBC that stands for Bamboo, Banana, and Coconut. The reason why Udjo loves those trees is he wants to see natural environment as can be found in village.
In Baduy Jero society, Baduy Angklung is used as a performance which support traditional ceremony to respect Sang Hyang Asri or Dewi Sri as an agricultural and fertility goddess. That ceremony is well known as ngaseuk pare, a ceremony held when planting rice seedling in field, and ngampihkeun pare, a ceremony when take the rice to rice-shed.
Baduy Angklung consists of four ‘ancak’ that called King-king, indo, panempas, and gong-gong. Dog-dog and bedug have function to escort song rhythm and song tempo. The players use white or black ‘kampret’, ‘lomar’, and ‘iket’. The total players are fifteen players; consist of nine angklung players, three bedug players, and the other as dancers.
In the performance, angklung and dog-dog escort them who sing and dance (ngalagu jeung ngalage). The song is done by reply each other, while dancing and moving around. The songs are Ayun-ayunan, Bibi Lenjang, Cik Arileu, Hiah-hiah Panjang, Jari Gandang, Keupat Rendang, Lili-liyang, Nganteh, Ngaseh, Oray-orayan, Pong-pok, Salaela, Yandi Bibi, Ketek-ketek, and Pileuleuyan.
Buncis angklung is played as an art which escort public ceremony or other events that involve a lot of people, such as nginebkeun pare or take the rice from rice field to house, heleran ceremony or guiding children from house to bengkong’s house to do circumcision, wedding ceremony, and other national ceremony.
Finally, there was a man named Mukhtar. He invited his friends to go to Cirangsad Mountain to cut surat bamboo. Afterwards, those bamboos were dried while doing ‘mati geni’ as long as 40 days. Mukhtar processed those bamboos to become angklung. He completed the angklung with dog-dog lojor. He taught the people how to play angklung and organized a ceremony for Dewi Sri and used angklung as a medium. After that ceremony, the plants grew well and fertile. It was believed that Dewi Sri accepted the ceremony and wanted to come down to the earth and gave fertility. Angklung could attracted Dewi sri to come from the sky (in Sundanese, it is called Ngagubrag). Later, this angklung is called Gubrag Angklung.
Gubrag Angklung is played in seren taun ceremony, which is a ceremony held in last harvest. Besides that, Gubrag Angklung also played in family party, anniversary, national days and many other events that involve a lot of people.
Bungko Angklung was developed by a figure of society, named Syeh Bentong or Ki Gede Bungko, after used as a performance to escort the Bungko’s village people to fight the pirates. Ki Gede Bungko used Bungko Angklung to spread Islam.
Besides those kinds of angklung, there are many other kinds of angklung that spread in almost every place in West Java. For example, Jinjing Angklung which usually plays as entertainment, angklung without vocal in Kanekes, angklung with susualan in Panamping, Sered Angklung in Tasikmalaya which is the angklung competition for children, etc.
One effort in continuing and developing traditional angklung has been done by Udjo Ngalagena through traditional angklung practice program in his Saung Angklung where the participants should learn and understand about traditional angklung before they learn about modern angklung or other Sundanese arts that have been modified.
In 1938, Daeng, a teacher of Hollandsch Inlandsche School (HIS) in Kabupaten Kuningan, West Java, returned angklung in society successfully by modified angklung to be more modern, from simple instrument that has pentatonic pitch into more complex angklung that has diatonic pitch. This angklung, later, is well known as Daeng Angklung or Padaeng Angklung. Daeng Angklung, if it looks from how to play it and the scale, is possible to reach repertories of popular songs, not only in national music but also west music.
Since he was child, Daeng really liked angklung. When he taught in HIS Kuningan, Daeng learnt about angklung deeply, included how to make and maintain angklung, from an angklung maker named Mr. Djaja. Daeng, who at that time studied in Kweekschool, learnt about west music and tried to make angklung that has diatonic pitch. Daeng thought diatonic angklung tend to be more communicative to be taught in schools. In addition, the people have known more about diatonic pitch than pentatonic pitch.
With the help of Mr. Djaja, Daeng succeed to make a set of diatonic angklung then introduced to the scout children where Daeng himself as a founder. The instrument accepted quickly as an art medium in his scout group, especially when scout meeting and camping. In other hand, Padaeng Angklung in Kuningan became famous in every social class. In 1946, Padaeng Angklung Group was trusted to perform its ability in entertainment night in Linggar Jati Conference.
In 1950, Daeng moved to Bandung and taught in SMPN 2 Bandung. When he was in Bandung, Daeng developed diatonic angklung and was given honor to perform it in Asia Africa Conference in 1955.
The differences between traditional angklung and Daeng Angklung are in the pitch scale and how to play it. Traditional angklung is a hand-angklung that played by a player while Daeng Angklung is made to be played together, where every player plays on a tone and the song harmony can be reached with good cooperation among the players.
As a teacher, Daeng saw that thing as a positive thing in education, especially in character building education. It is reflected in angklung performance that every player should be able to show cooperation, discipline, carefulness, ability and responsibility. As well as basic things in music education, angklung can build the attention of music, bring the life of music, and develop musicality, melody, rhythm, and harmony.
Daeng Soetigna not only succeed to enrich angklung, by developing pentatonic pitch to diatonic pitch, but also meritorious in developing angklung to become modern instrument, involved expanding melody as wide as 3 ½ octave, completed by Accord angklung or Accompaniment Angklung (large and small), to accompany those angklung.
Melodic Angklung have number in each angklung that will be converted into definite tone, coincide with the base not. In other hand, Accompaniment Angklung has definite accord, it will not change although the song played has different base note. Generally, the division of Padaeng Angklung is as written below:
Cooperation, Cooperativeness, Discipline, Accuracy, Agility, Responsibility, Etc.
ACC Angklung (Accompaniment/ Accord)
This angklung has a function as accord and divided into two kinds of
angklung, Major Accord that consists of four tubes (base tone, terst,
kwint, and septime) and Minor Accord that consists of four pure sound
tubes without septime. Accompaniment Angklung has a function to escort
the song or as Accompaniment Guitar in a band. The difference between
Accompaniment Angklung and Melodic Angklung is the tube in Accompaniment
Angklung has its own tone, not like Melodic Angklung that has main tone
with octave (unisono). So, the sound that produced by Accompaniment
Angklung is in form of Accord.
Accompaniment Angklung consists of:
MAJOR ACCOMPANIMENT
Minor Accompaniment Angklung consists of three tubes that is called ‘bunyi tiga’ accord. So, if in a song is written Cm, it means C minor accompaniment. If it is written Dm, it means D minor accompaniment and so on. A thing that should be noted is:
Cm consists of C-Es-G tone
D7 consists of D-Fis-C tone
If we combine G tone from Cm is not being played and D from D7, we will get combination tone that consists of C-Es-Fis-A that later will be written: C-Es-Ges-Beses, because Fis inharmonious with Ges while A inharmonious with Beses, and we get C-Dim Accord. We can also find another diminished accord with previous steps. Then, if we need C+ Accompaniment (C-Auqmented), C+ Accord consists of: C-E-Gis. To get this Accompaniment, combine Am Accompaniment with A tone is held together with Fm Accompaniment and F tone is held, because:
Am Accompaniment consists of A-C-E
Fm Accompaniment consists of F-As-C
If we combine both accompaniment, after A and F tone are held, it will produce accord that consists of C-E-As or C-E-Gis, because As inharmonious with Gis. With previous step, we can get C+ Accord (C-Auqmented Accompaniment).
CUK ANGKLUNG (CO- ACCOMPANIMENT)
The function of this angklung is the same with Accompaniment Angklung, it only has higher tone than Accompaniment Angklung. This Angklung, based on tone arrangement and shape, is the same with Accompaniment Angklung that is Accord. The Accord symbol is the same too, but the tone one octave higher than Accompaniment Angklung. Both of the Accompaniment (ACC Angklung and Cuk Angklung) are played repeatedly based on song arrangement, rhythm, and beat that relate each other and supported by percussion. Cuk Angklung is usually used as a successor of ukulele in Keroncong or songs that have Beguine rhythm, or sometimes Mars or Arumba.
LOW MELODIC ANGKLUNG/ BASS PARTY
Bass Party Angklung/ Low Melodic Angklung is an angklung that has function to play low tone.
Small Unit of Angklung
1. Two tubes Melodic Angklung (28 pieces, 2 sets)
2. Major ACC Angklung (6 pieces) and Minor ACC Angklung (5 pieces)
3. Big Melodic Angklung/ Bass Party (6 pieces)
4. Standard pillar for Melodic Angklung
5. Standard pillar for ACC Angklung and Bass Party
Medium Unit of Angklung
1. Two tubes Melodic Angklung (31 pieces, 2 sets)
2. Major ACC Angklung (8 pieces) and Minor ACC Angklung (5 pieces)
3. Big Melodic Angklung/ Bass Party
4. Standard pillar for Melodic Angklung
5. Standard pillar for ACC Angklung and Bass Party
Large Unit of Angklung
Notes:
1. Two tubes Melodic Angklung (31 pieces, 3 sets)
2. Major ACC Angklung (10 pieces) and Minor ACC Angklung (7 pieces)
3. Big Melodic Angklung/ Bass Party (11 pieces, 2 sets)
4. Dominant Major of Cuk Angklung (10 pieces) and Dominant Minor of Cuk Angklung (7 pieces)
5. Standard pillar for Melodic Angklung
6. Standard pillar for Melodic Angklung and Bass Party
7. Standard pillar for ACC Angklung and Cuk Angklung
Angklung Problems and Solution in Indonesia
How do we keep the legacy of land one Sunda "Angklung" awake so as not in the claims by other countries?
Besides Dance Reog Ponorogo of East Java which is claimed by the Government of Malaysia is also Musical Gamelan, Bali and Pendet of Parang of Yogyakarta Batik is also claimed by Malaysia. Why is that? Well, because many young people are less interested in Indonesia are now approaching or works of art that could be considered 'really old school' because the technology is increasingly growing in them hypnotized, so forget that their country was on the other hand there is a 'treasure' that they should keep the "Culture"
in every area there must be a work of 'traditional instruments' or art shows a typical area (an area icon), such as the Dance of West Sumatra plate, Sasando of East Nusa Tenggara, Sampek of Borneo and many others including Angklung from West Java . there any Indonesian people who are aware of the importance of maintaining and preserving a culture that matter?maintain the culture means keeping a country come too!
So we as young Indonesia should maintain and preserve traditional culture and art that we have. Indonesian people especially should be able to maintain the culture we have and not claimed by other countries.We also do not only talk but we have to prove that Indonesia had a very diverse culture.
We have to know that besides unique, the instruments that made from bamboo have natural weaknesses, such as:
1. The elasticity of bamboo/ the nature of deflation and expansion
The weather and climate can cause the change of tone that has been formed in angklung. The tone can be higher if the bamboo deflates or lower if the bamboo expands. The elasticity of bamboo depends on the density of that bamboo. If the bamboo is less dense, the elasticity will be larger so the tone will change easily. But if the bamboo quite dense, the elasticity will be smaller so the change of tone almost invisible. The dense bamboo is the best bamboo to be made angklung. This elasticity can be prevented by doing re-tuning.
2. Bamboo becomes crack/ broken because of climate change
The strength of bamboo is different with the strength of metal towards the drastic climate change, or very hot or very cold temperature. In hot temperature, the bamboo will easily crack or even broken. It makes the tone that has formed broken and cannot be saved. While in the cold temperature, the bamboo will deflate so it affects the tone.
3. Bamboo becomes broken because of termites
Termites are natural pests of every kind of bamboo. Termites eat cellulose that contains in bamboo. There are almost 2000 species of termite in the world (some of them, in about 120 species are pests). In our country, there are about 200 species of termite and only 20 species that had been known as a pest that can damage wood and plants. Termites can damage both inside and outside the bamboo. The termites that damage bamboo come from larva which can be found inside the bamboo or from outside termites.
The natural prevention of termite can be done by lose or decrease the cellulose that contains in bamboo. Former times, fumigation and soak in a river that has strong current were believed to be a way to decrease the content of cellulose in bamboo. In this modern era, there are many kinds of anti-termites that can kill termites effectively. To prevent bamboo from termite, the use of anti-termites is suggested and used regularly.
Bamboo’s Philosophy, according to Abah Udjo
Udjo is well known as an angklung artist who in his daily life, ha cannot be separated from bamboo, the life always be symbolized close to the bamboo.His love to bamboo is realized by planting bamboo around his residence. There are three plants around his residence which he loves much and people should not cut them down. Those trees are given name BBC that stands for Bamboo, Banana, and Coconut. The reason why Udjo loves those trees is he wants to see natural environment as can be found in village.
History of Angklung
Long time ago, angklung was an instrument that had religious ritual function. The main function of angklung was as a medium to invite Dewi Sri (rice goddess/prosperity) to come down to the earth and gave fertility to plants. They used tritonik (three tones) angklung, tetra tonik (four tones) and pentatonic (five tones). This kind of angklung usually calls angklung buhun that means ‘the old angklung’ which had not been influenced by other elements. Until now, some villages still use angklung buhun in many ceremonies, such as pesta panen, ngaseuk pare, nginebkeun pare, ngampihkeun pare, seren taun, nadran, helaran, turun bumi, sedekah bumi, etc.Traditional Angklung
Angklung Baduy
It has not known from where and when Baduy Angklung came. The spread of this angklung was not too wide. It may be because the performance was monotonous and boring.In Baduy Jero society, Baduy Angklung is used as a performance which support traditional ceremony to respect Sang Hyang Asri or Dewi Sri as an agricultural and fertility goddess. That ceremony is well known as ngaseuk pare, a ceremony held when planting rice seedling in field, and ngampihkeun pare, a ceremony when take the rice to rice-shed.
Baduy Angklung consists of four ‘ancak’ that called King-king, indo, panempas, and gong-gong. Dog-dog and bedug have function to escort song rhythm and song tempo. The players use white or black ‘kampret’, ‘lomar’, and ‘iket’. The total players are fifteen players; consist of nine angklung players, three bedug players, and the other as dancers.
In the performance, angklung and dog-dog escort them who sing and dance (ngalagu jeung ngalage). The song is done by reply each other, while dancing and moving around. The songs are Ayun-ayunan, Bibi Lenjang, Cik Arileu, Hiah-hiah Panjang, Jari Gandang, Keupat Rendang, Lili-liyang, Nganteh, Ngaseh, Oray-orayan, Pong-pok, Salaela, Yandi Bibi, Ketek-ketek, and Pileuleuyan.
Angklung Buncis
Buncis Angklung was first made by Mr. Bonce in 1975 in Kampung Cipurut, Desa Baros, Arjasari, Bandung. It was told that Mr. Bonce worked as a fisherman in a river. One day, he found the river where he put basket trap for fish overflowed because of flood. That flood washed away some bamboos then he took home those bamboos and put in fireplace. After dried, he hit those bamboos and they produced good and clear sound. So, he made angklung. The angklung was named Buncis Angklung. Mr. Bonce made seven sets of Buncis Angklung and sold them to Aki Dartiam. After that, Aki Dartiam combined the angklung with dog-dog and trumpet.Buncis angklung is played as an art which escort public ceremony or other events that involve a lot of people, such as nginebkeun pare or take the rice from rice field to house, heleran ceremony or guiding children from house to bengkong’s house to do circumcision, wedding ceremony, and other national ceremony.
Angklung Gubrak
Long time ago, Kampung Cipining, Bogor was threatened by starvation because the rice in the rice field couldn’t grow well. The people believed that the calamity happened because of the anger of Dewi Sri who was mourn and didn’t get any entertainment or angry to the people. The people belived that Dewi Sri stayed in the sky and they tried many things to invite Dewi Sri to come to the earth and gave fertility to the rice fields. Many efforts done, such as gave sacrifice, arranged art performance like suling performance, karinding performance, etc. But those efforts didn’t give any results. Dewi Sri didn’t come down to the earth and the plants didn’t grow well.Finally, there was a man named Mukhtar. He invited his friends to go to Cirangsad Mountain to cut surat bamboo. Afterwards, those bamboos were dried while doing ‘mati geni’ as long as 40 days. Mukhtar processed those bamboos to become angklung. He completed the angklung with dog-dog lojor. He taught the people how to play angklung and organized a ceremony for Dewi Sri and used angklung as a medium. After that ceremony, the plants grew well and fertile. It was believed that Dewi Sri accepted the ceremony and wanted to come down to the earth and gave fertility. Angklung could attracted Dewi sri to come from the sky (in Sundanese, it is called Ngagubrag). Later, this angklung is called Gubrag Angklung.
Gubrag Angklung is played in seren taun ceremony, which is a ceremony held in last harvest. Besides that, Gubrag Angklung also played in family party, anniversary, national days and many other events that involve a lot of people.
Angklung Bungko
Bungko Angklung can be found in Desa Bungko, the boundary of Cirebon and Indramayu. The first Bungko Angklung was believed to be 600 years old. The first Bungko Angklung is still alive, kept well, although it doesn’t have tone anymore. The first Bungko Angklung always enclosed in every performance of Bungko Angklung as an official symbol of that performance.Bungko Angklung was developed by a figure of society, named Syeh Bentong or Ki Gede Bungko, after used as a performance to escort the Bungko’s village people to fight the pirates. Ki Gede Bungko used Bungko Angklung to spread Islam.
Besides those kinds of angklung, there are many other kinds of angklung that spread in almost every place in West Java. For example, Jinjing Angklung which usually plays as entertainment, angklung without vocal in Kanekes, angklung with susualan in Panamping, Sered Angklung in Tasikmalaya which is the angklung competition for children, etc.
One effort in continuing and developing traditional angklung has been done by Udjo Ngalagena through traditional angklung practice program in his Saung Angklung where the participants should learn and understand about traditional angklung before they learn about modern angklung or other Sundanese arts that have been modified.
Modern Angklung (Padaeng)
In 1938, Daeng, a teacher of Hollandsch Inlandsche School (HIS) in Kabupaten Kuningan, West Java, returned angklung in society successfully by modified angklung to be more modern, from simple instrument that has pentatonic pitch into more complex angklung that has diatonic pitch. This angklung, later, is well known as Daeng Angklung or Padaeng Angklung. Daeng Angklung, if it looks from how to play it and the scale, is possible to reach repertories of popular songs, not only in national music but also west music.
Since he was child, Daeng really liked angklung. When he taught in HIS Kuningan, Daeng learnt about angklung deeply, included how to make and maintain angklung, from an angklung maker named Mr. Djaja. Daeng, who at that time studied in Kweekschool, learnt about west music and tried to make angklung that has diatonic pitch. Daeng thought diatonic angklung tend to be more communicative to be taught in schools. In addition, the people have known more about diatonic pitch than pentatonic pitch.
With the help of Mr. Djaja, Daeng succeed to make a set of diatonic angklung then introduced to the scout children where Daeng himself as a founder. The instrument accepted quickly as an art medium in his scout group, especially when scout meeting and camping. In other hand, Padaeng Angklung in Kuningan became famous in every social class. In 1946, Padaeng Angklung Group was trusted to perform its ability in entertainment night in Linggar Jati Conference.
In 1950, Daeng moved to Bandung and taught in SMPN 2 Bandung. When he was in Bandung, Daeng developed diatonic angklung and was given honor to perform it in Asia Africa Conference in 1955.
The differences between traditional angklung and Daeng Angklung are in the pitch scale and how to play it. Traditional angklung is a hand-angklung that played by a player while Daeng Angklung is made to be played together, where every player plays on a tone and the song harmony can be reached with good cooperation among the players.
As a teacher, Daeng saw that thing as a positive thing in education, especially in character building education. It is reflected in angklung performance that every player should be able to show cooperation, discipline, carefulness, ability and responsibility. As well as basic things in music education, angklung can build the attention of music, bring the life of music, and develop musicality, melody, rhythm, and harmony.
Daeng Soetigna not only succeed to enrich angklung, by developing pentatonic pitch to diatonic pitch, but also meritorious in developing angklung to become modern instrument, involved expanding melody as wide as 3 ½ octave, completed by Accord angklung or Accompaniment Angklung (large and small), to accompany those angklung.
Melodic Angklung have number in each angklung that will be converted into definite tone, coincide with the base not. In other hand, Accompaniment Angklung has definite accord, it will not change although the song played has different base note. Generally, the division of Padaeng Angklung is as written below:
Angklung Development In Indonesia
The Magic of Angklung
Other things which lead to the development of meaningful values in music education are:- Increasing awareness on music
- Emerging music sense
- Developing rhythm sense, melody and harmony, etc.
- The other important things of Angklung are:
- Intellectual/intelligent development
- Creativity-discipline
- Emotional and expressions channel in playing music happily.
- Practice coordinating body movement when following music rhythm in terms of psychomotor nerve development.
- Some health centres in other country have proved through their scientific findings that Angklung has been a health therapy medium.
- Furthermore, it is expected that traditional arts be able to stimulate idealism and interests of young generation on the existence of Sundanese traditional arts/music. In addition to this, it is further hoped that young generations also get interested in preserving natural environment.
Angklung and Character Building
From its enchantment and appeal, Angklung has a good effect because of its real function: by the art of Angklung, good values may grow, especially in character building, such as:Cooperation, Cooperativeness, Discipline, Accuracy, Agility, Responsibility, Etc.
Playing Angklung
The following are the explanation about how to hold, shake, and play angklung that believed to be true so far.- The position of angklung is the higher tube on the right of the player and the short one on the left, straight and not slant.
- The left hand of the player hold the upper knot of angklung and the right hand hold the below side of angklung. The position of the left hand can grip the angklung both upside or downside. Both hands are in straight position.
- The right hand is used to shake the angklung while the left hand only to hold the angklung without moving it. The movement of the right hand is from right to left and it is done quickly by wrist.
- If a player holds more than one angklung, the bigger angklung is placed near the body. If the size quite big, angklung can be hold in arm of the player. If it is small, angklung is held by finger, but it should have space between one angklung from another, so it will not collide.
Long vibrate
Angklung is shaken long based tone played, so the melody will be played continuously.Staccato
Angklung doesn’t shake as usual, but it is shaken in one beat so it produces short sound. To produce this sound, angklung is held by slanting the angklung and the base of the right tube is beaten to right hand.Tengkep
It is played by bear or closes the small tube so it will not make any sound. The vibration of this way is still long and continuous. This way is done if we want to get finer sound.Angklung Unit
What is meant by Unit Angklung is a set of musical instruments that builds angklung orchestra. Based on the shape and function, Unit Angklung consists of Melodic Angklung, Accompaniment Angklung, Bass Party Angklung, and Cuk Angklung. There are also other instruments that usually used to complete a Unit Angklung, such as Contra Bass and Accompaniment Gambang.
Parts Of Angklung Unit
Melodic Angklung
Melodic Angklung has a function to play tones in a song. There are two kinds of Melodic Angklung, 2 tubes and 3 tubes. The difference in the tube is aimed to make the sound clearer. Melodic Angklung consists of 2,5 octave of tone scale. In order to make the player easier in playing the angklung, Melodic Angklung is given number, so that the players only need to remember the number. But it is better if we know about the absolute tone. The number of Melodic Angklung is as written below:
ACC Angklung (Accompaniment/ Accord)Accompaniment Angklung consists of:
MAJOR ACCOMPANIMENT
Minor Accompaniment Angklung consists of three tubes that is called ‘bunyi tiga’ accord. So, if in a song is written Cm, it means C minor accompaniment. If it is written Dm, it means D minor accompaniment and so on. A thing that should be noted is:
Cm consists of C-Es-G tone
D7 consists of D-Fis-C tone
If we combine G tone from Cm is not being played and D from D7, we will get combination tone that consists of C-Es-Fis-A that later will be written: C-Es-Ges-Beses, because Fis inharmonious with Ges while A inharmonious with Beses, and we get C-Dim Accord. We can also find another diminished accord with previous steps. Then, if we need C+ Accompaniment (C-Auqmented), C+ Accord consists of: C-E-Gis. To get this Accompaniment, combine Am Accompaniment with A tone is held together with Fm Accompaniment and F tone is held, because:
Am Accompaniment consists of A-C-E
Fm Accompaniment consists of F-As-C
If we combine both accompaniment, after A and F tone are held, it will produce accord that consists of C-E-As or C-E-Gis, because As inharmonious with Gis. With previous step, we can get C+ Accord (C-Auqmented Accompaniment).
CUK ANGKLUNG (CO- ACCOMPANIMENT)
The function of this angklung is the same with Accompaniment Angklung, it only has higher tone than Accompaniment Angklung. This Angklung, based on tone arrangement and shape, is the same with Accompaniment Angklung that is Accord. The Accord symbol is the same too, but the tone one octave higher than Accompaniment Angklung. Both of the Accompaniment (ACC Angklung and Cuk Angklung) are played repeatedly based on song arrangement, rhythm, and beat that relate each other and supported by percussion. Cuk Angklung is usually used as a successor of ukulele in Keroncong or songs that have Beguine rhythm, or sometimes Mars or Arumba.
LOW MELODIC ANGKLUNG/ BASS PARTY
Bass Party Angklung/ Low Melodic Angklung is an angklung that has function to play low tone.
Classification of Angklung Unit
Small Unit of Angklung
Notes:
1. Two tubes Melodic Angklung (28 pieces, 2 sets)
2. Major ACC Angklung (6 pieces) and Minor ACC Angklung (5 pieces)
3. Big Melodic Angklung/ Bass Party (6 pieces)
4. Standard pillar for Melodic Angklung
5. Standard pillar for ACC Angklung and Bass Party
Medium Unit of Angklung
Notes:
1. Two tubes Melodic Angklung (31 pieces, 2 sets)
2. Major ACC Angklung (8 pieces) and Minor ACC Angklung (5 pieces)
3. Big Melodic Angklung/ Bass Party
4. Standard pillar for Melodic Angklung
5. Standard pillar for ACC Angklung and Bass Party
Large Unit of Angklung
1. Two tubes Melodic Angklung (31 pieces, 3 sets)
2. Major ACC Angklung (10 pieces) and Minor ACC Angklung (7 pieces)
3. Big Melodic Angklung/ Bass Party (11 pieces, 2 sets)
4. Dominant Major of Cuk Angklung (10 pieces) and Dominant Minor of Cuk Angklung (7 pieces)
5. Standard pillar for Melodic Angklung
6. Standard pillar for Melodic Angklung and Bass Party
7. Standard pillar for ACC Angklung and Cuk Angklung
Angklung Problems and Solution in Indonesia
How do we keep the legacy of land one Sunda "Angklung" awake so as not in the claims by other countries?
Besides Dance Reog Ponorogo of East Java which is claimed by the Government of Malaysia is also Musical Gamelan, Bali and Pendet of Parang of Yogyakarta Batik is also claimed by Malaysia. Why is that? Well, because many young people are less interested in Indonesia are now approaching or works of art that could be considered 'really old school' because the technology is increasingly growing in them hypnotized, so forget that their country was on the other hand there is a 'treasure' that they should keep the "Culture"
in every area there must be a work of 'traditional instruments' or art shows a typical area (an area icon), such as the Dance of West Sumatra plate, Sasando of East Nusa Tenggara, Sampek of Borneo and many others including Angklung from West Java . there any Indonesian people who are aware of the importance of maintaining and preserving a culture that matter?maintain the culture means keeping a country come too!
So we as young Indonesia should maintain and preserve traditional culture and art that we have. Indonesian people especially should be able to maintain the culture we have and not claimed by other countries.We also do not only talk but we have to prove that Indonesia had a very diverse culture.
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