Angklung

Angklung kanekes or Angklung Buhun or Angklung Baduy, Banten, Indonesia

Angklung kanekes or Angklung buhun or Angklung baduy is an ancient angklung originating from the Baduy in Lebak, the Banten province of Indonesia. This angklung is used to accompany the ritual of planting rice on the fields passed down by their ancestors. Angklung kanekes are only made by the Baduy Dalam tribe who still maintain the pure traditions of their ancestors. The names of angklung instruments in Kanekes from the biggest are: indung, ringkung, dongdong, gunjing, engklok, indung leutik, torolok, and roel.[10]

Angklung dogdog lojor is an angklung that originates from the Dogdog Lojor culture found in the Kasepuhan Pancer Pangawinan community or Kesatuan Banten Kidul scattered around Mount Halimun. Angklung dogdog lojor is used to accompany the tradition of farming, circumcision, and marriage. This angklung is played by six players consisting of two players playing the angklung dogdog lojor and four players playing the large angklung.[10][11]

Angklung gabrag is an angklung originating from Cipinang village, Cigudeg, Bogor, West Java. This angklung is very old and is used to honor the goddess of rice, Dewi Sri. Angklung is played during melak pare (rice planting), ngunjal pare (transporting rice), and ngadiukeun (storage) in the leuit (barn). According to legend, gubrag angklung began to exist when Cipining village experienced a dry season because Dewi Sri did not make it rain.[10]

Angklung badeng is an angklung originating from Garut, West Java. Initially, this angklung was used for the ritual of planting rice, but now it has shifted to be used to accompany the preaching of Islam. It takes nine angklung to complete the da'wah accompaniment process consisting of two angklung roel, one angklung kecer, four angklung indung, two angklung anak, two angklung dogdogs, and two gembyung.[11]

Angklung Dogdog Lojor.

Angklung bungko is an angklung that originates in Bungko village, Cirebon, West Java. Angklung Bungko is played with other musical instruments such as kendang, tutukan, klenong and gongs. In ancient times, angklung bungko was a musical accompaniment to fights between villagers. The existing angklung bungko consists of three pieces which are believed to be 600 years old. This old angklung is believed to have originated from Ki Gede Bungko, the elder of Bungko village, as well as the Commander of the Navy of the Cirebon Sultanate in the Sunan Gunung Jati era around the 15th century. This angklung cannot be played anymore because it is fragile. The people believe that angklung bungko has magical powers. In ancient times, if a child was sick, when the angklung bungko was played around the village and accompanied by a dance, the child could recover on their own.[12]

Angklung badud is a type of angklung that is used for performing arts at parades or carnivals. The art of badud angklung was born and preserved in Parakanhonje Village, Indihiang District, Tasikmalaya City, West Java. Under the care of the Kanca Indihiang Big Family, angklung badud in its era around the 70s can be known everywhere. The main function of angklung badud in society is to entertain children before the circumcision ritual. Before the invention of local anesthetics, a child who was going to be circumcised early in the morning would be paraded to the pool (balong) to soak in it. Angklung badud would be played on the way to and from the pool as the people watched, similar to a parade.[13]

Angklung buncis is an angklung used for entertainment, such as the angklung in the Baros area, Arjasari, Bandung, West Java. The instruments used in the art of angklung buncis are two angklung indung, two angklung ambrug, angklung panempas, two angklung pancer, one angklung enclok, three dogdogs (one talingtit, one panunggung, and one badublag). Tarompet, kecrek, and gongs have been added over time. The angklung buncis has a salendro tone and a vocal song can be madenda or degung.[14]

Angklung Buncis in Seren taun ceremony in Bogor, West Java, Indonesia.

Initially, angklung buncis was used in agricultural events related to rice. Nowadays, angklung buncis is used as entertainment. This is related to societal changes and less emphasis on traditional beliefs. The 1940s can be considered the end of the ritual function of angklung buncis in honor of rice because it has since turned into an entertainment form. In addition, rice storage barns (leuit) began to disappear from people's homes, replaced by sack places that were more practical and easy to carry. Many of the rice is now sold directly, not stored in barns. Thus the art of angklung buncis that was used for the ngunjal (rice-carrying) ritual is no longer needed. The name of the angklung buncis is related to the well-known lyrics "cis kacang buncis nyengcle...". The text is part of the art of angklung buncis, so this art form is called buncis.[15]

Angklung calung or calung is a prototype musical instrument made of bamboo. In contrast to the angklung which is played by shaking, the calung is played by hitting the rods (wilahan, bilah) of sections of bamboo tubes arranged according to titi laras (pentatonic scales), da-mi-na-ti-la. Most commonly calung are made from awi wulung (black bamboo), but some are made from awi temen (white bamboo).

The meaning of calung, apart from being a musical instrument, is also attached to the term performance art. There are two known forms of calung Sunda, namely calung rantay and calung jinjing. This musical instrument is a traditional Sundanese musical instrument, which is also known and developed in the Banyumas region. When playing the calung rantay, the player usually plays by sitting cross-legged, while a person playing calung jinjing carries the bamboo that has been lined up and plays it while standing. Initially, calung was performed to accompany Sundanese traditional ceremonies as a ritual for the celebration of the people of West Java, but with the development of the calung era, it began to be used as a musical instrument for entertainment.[16]

Angklung Reog is a musical instrument to accompany the Reog Ponorogo Dance in East Java. Angklung Reog has a characteristic in terms of a very loud sound, has two tones and an attractive curved shape of rattan (unlike the usual angklung in the form of a cube) decorated with beautiful colored fringed threads. It is said that angklung was a weapon from the kingdom of Bantarangin against the kingdom of Lodaya in the 11th century, when the victory by the kingdom of Bantarangin was happy, the soldiers were no exception, the angklung holder was no exception, because of the extraordinary strength of the reinforcement of the rope, it loosened to produce a distinctive sound, namely klong-klok. and klung-kluk when heard will feel spiritual vibrations.

Is a type of Angklung Reog from Sambit, Ponorogo. Shaped like Angklung Reyog but arranged from small to the largest angklung with various tones, Gong Gumbeng Angklung is the first and oldest type of pitched angklung. A set of angklung Gong Gumbeng that is more than 250 years old is now stored in the Sri Baduga Bandung Museum.

Balinese angklung called Rindik has a distinctive Balinese shape and tone. The angklung Rindik is played by hitting the bamboo like a gamelan. Rindik Bali was originally Angklung Reog from Ponorogo who was brought by later Majapahit officials.

Calung rantai, West Java, before 1936.

Daeng Soetigna in 1971.

Angklung padaeng is a musical instrument made of bamboo which is a modern variant of angklung. Traditional angklung used the slendro, pelog, and madenda scales. In 1938, Daeng Soetigna made an innovation so that the angklung could play diatonic notes. To appreciate his work, this angklung was named angklung padaeng, which comes from the words Pak (father, respected adult male) and Daeng (the inventor's name). The tuning used is diatonic, according to the western music system, and can even be presented in an orchestral form.[10]

In line with music theory, the angklung padaeng is divided into two groups: the melodic angklung and the akompanimen angklung. A melody angklung specifically consists of two sound tubes with a pitch difference of one octave. In one angklung unit, generally there are 31 small melodic angklung and 11 large melodic angklung. Meanwhile, the akompanimen angklung is used as an accompaniment to play harmonic tones. The voice tube consists of three to four, according to a diatonic chord. After Daeng Soetigna's innovation, other reforms continued to develop. Some of them are sarinande angklung, arumba, toel angklung, and Sri Murni angklung. After Daeng Soetigna, one of his students, Udjo Ngalagena, continued his efforts by establishing saung angklung in the Bandung area. To this day, the area known as Saung Angklung Udjo is still a center of creativity with regard to angklung.

Angklung musical instrument, The History of Java by Thomas Stamford Raffles (1817).

Angklung sarinande is a term for angklung padaeng that only uses round tones (without chromatic tones) with a basic tone of C. The small unit of angklung sarinande contains 8 angklung (Low to High Do tones), while angklung sarinande plus contains 13 angklung (Low to High Sol until High mi).[17]

Angklung arumba is a musical ensemble of various musical instruments made of bamboo. Angklung arumba was born around the 1960s in West Java, Indonesia, and is now a typical West Javanese musical instrument. In 1964, Yoes Roesadi and his friends formed a musical group that specifically added angklung to its ensemble line. They got the idea to call themselves the Arumba group (Alunan Rumpun Bambu – Strains of Bamboo). With the passage of time, the term arumba finally stuck as an ensemble of bamboo music from West Java. Angklung arumba is a term for a set of musical instruments consisting of at least:[18]

• ) Angklung – One unit of melody angklung, hung so that it can be played by one person
• ) Lodong (big bamboo) – One lodong bass unit, also lined up so that it can be played by one person
• ) Gambang I – Melody bamboo xylophone
• ) Gambang II – Companion bamboo xylophone
• ) Kendang – Traditional drum

Angklung toel is a new innovation from conventional angklung which was already legendary. The difference between Angklung toel and the angklung that people have known so far lies in its placement. This angklung has a waist-high frame with several angklungs lined up upside down and given a rubber band. How to play it is quite unique, almost similar to playing the piano. People who want to play Angklung toel simply 'touch' (toel) the angklung according to the tone and the angklung will vibrate for a while because of the rubber.[19]

Angklung toel was created by Kang Yayan Udjo from Saung Angklung Udjo in 2008. With this Angklung toel, giving a new color to the world of angklung, this type of angklung makes playing it easier and simpler.

Angklung sri murni was created from the idea of Eko Mursito Budi for the purposes of angklung robots. One angklung uses two or more sound tubes with the same tone, so that it will produce a pure tone (mono-tonal).[19] This is different from the multi-tonal in angklung Padaeng. With this simple idea, the robot can easily play a combination of several angklungs simultaneously to imitate the effects of melodic angklung and accompaniment angklung.

• 
  Angklung performance in Batavia (now Jakarta), c. 1910–1930.
• 
  Angklung display.
• 
  Calung Bali (Rindhik), Indonesia.
• 
  Calung jinjing performance in West Java, Indonesia.

It's a kind of numbered musical notation like the solfège, but it uses a different system: high numbers correspond to low tones, and vice versa. This system might seem to be counterintuitive to people who are already familiar with the western solfège. There are only 5 notes used in each scales: 1, 2, 3, 4, and 5, read as da, mi, na, ti, and la. The absolute tones depend on the scale used and the base frequency, which don't adhere to western standards. Traditional angklung have some common scales: saléndro, degung/pélog, and sorog/madenda.

Diatonic notation for angklung use a numbered musical notation in Indonesia, similar notation like Jianpu, but with some different standards, like the placement of rhythm lines positions and chord notations. The musical notation is written based on movable do. The musical notation displays 1 as relative do, 2 as relative re, etc. Higher octave marked with a dot above, and lower octave marked with a dot below.

Also, some alternatives notations is writing the exact written numbers on the single angklung to the musical sheet, usually marked 0–31, 0 is the lowest tone and 31 is the highest tone.

Some angklung types contains more than one notes usually marked with English chord notation, like C, Dm, Em, F, G, G7, Am, etc. This type of angklung is used for accompanying a musical piece.

In the old Sundanese tradition, angklung is played as a form of calling to Dewi Sri, a figure described as the goddess of fertility, who believed will gives blessings to rice plants so that they are fertile and prosperous for the community. The ceremony ususally take place during Seren Taun rice harvesting and planting ceremony. This tradition is still carried out by the Baduy or Kanekes tribe, which is the remnant of the old Sundanese that still exists.