PROMOSITION OF ANGKLUNG

PROMOSITION OF ANGKLUNG

TRADITIONAL MUSIC INSTRUMENT IS OWNED ANGKLUNG WEST JAVA

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:

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 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.

3. Tuning The Voice Tube Process

Half-Done Process
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:

• 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)

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.

There are some ways to play angklung:

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.

bermain Angklung

Berikut ini adalah penjelasan tentang cara memegang, gemetar, dan bermain angklung yang diyakini benar sejauh ini.

     Posisi angklung adalah tabung yang lebih tinggi di sebelah kanan pemain dan yang pendek di sebelah kiri, lurus dan tidak miring.
     Tangan kiri dari pemain memegang simpul atas angklung dan tangan kanan memegang bawah sisi angklung. Posisi tangan kiri dapat mencengkeram angklung baik terbalik atau sisi negatifnya. Kedua tangan berada dalam posisi lurus.
     Tangan kanan digunakan untuk mengguncang angklung sementara tangan kiri hanya untuk menahan angklung tanpa bergerak. Gerakan tangan kanan dari kanan ke kiri dan hal itu dilakukan dengan cepat dengan pergelangan tangan.
     Jika seorang pemain memiliki lebih dari satu angklung, angklung besar ditempatkan dekat tubuh. Jika ukuran cukup besar, angklung dapat terus dalam lengan pemain. Jika kecil, angklung dipegang oleh jari, tetapi harus memiliki ruang antara satu angklung dari yang lain, sehingga tidak akan bertabrakan.

Ada beberapa cara untuk bermain angklung:
panjang bergetar

Angklung terguncang nada panjang berbasis dimainkan, sehingga melodi akan dimainkan terus menerus.
staccato

Angklung tidak goyang seperti biasa, tetapi terguncang dalam satu mengalahkan sehingga menghasilkan suara singkat. Untuk menghasilkan suara ini, angklung dipegang oleh miring angklung dan dasar tabung kanan dipukuli sampai tangan kanan.
Tengkep

Hal ini dimainkan oleh beruang atau menutup tabung kecil sehingga tidak akan membuat suara apapun. Getaran dari jalan ini masih panjang dan berkesinambungan. Cara ini dilakukan jika kita ingin mendapatkan suara yang lebih halus.

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)

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

It consists of four tubes. For example, accord that consists of C-E-G tone is called C major accord. If the tone C-E-G-Bes, it is called C7 accord because Bes is a septime of that accord. If the accord consists of G-B-D tone, it is called G major accord. If the tone G-B-D-F, it is called G7 accord because F is a septime of that accord. So, if in a song is written C7, it means all of the tubes should be played. If it is written C, it means only three tubes should be played, while the Bes tone tube should be held and do not produce any sound.

MINOR 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

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

PROMOTION OF ANGKLUNG

Ø  Angklung Development In Indonesia

A.     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.

All stated previously are called the “The Magic of Angklung”.

B.     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.

UNESCO set angklung as work and the Intangible Cultural Heritage World on November 18, 2010. In addition, with very kepadaIndonesia UNESCO recommends to always maintain and preserve the work and its cultural heritage.