 Angklung with eight pitches | |
| Percussion instrument | |
|---|---|
| Classification | Idiophone |
| Hornbostel–Sachs classification | 111.232 (Sets of percussion tubes) |
| Developed | Indonesia |
| Playing range | |
G2 - C6 medium | |
| Indonesian Angklung | |
|---|---|
| Country | Indonesia |
| Reference | 00393 |
| Region | Asia and the Pacific |
| Inscription history | |
| Inscription | 2010 (5th session) |
| List | Representative |
| TraditionalAngklung (Pentatonic –Slendro Scale:Angklung Kanekes, Angklung Dogdog Lojor, Angklung Gabrag, Angklung Badeng, Angklung Bungko, Angklung Badud, Angklung Buncis, andangklungCalung) andModernAngklung (Diatonic/Chromatic –Slendro,Pelog, andMadenda Scale:Angklung Padaeng) | |
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| Music of Indonesia |
| Genres |
|---|
| Specific forms |
| Regional music |
Theangklung (Sundanese:ᮃᮀᮊᮣᮥᮀ) is amusical instrument from theSundanese inIndonesia that is made of a varying number ofbamboo tubes attached to a bamboo frame.[1] The tubes are carved to produce a resonant pitch when struck and are tuned tooctaves, similar to Westernhandbells. The base of the frame is held in one hand, while the other hand shakes the instrument, causing a repeating note to sound. Each performer in anangklung ensemble is typically responsible for just one pitch, sounding their individualangklung at the appropriate times to produce complete melodies (seeKotekan).
Theangklung originated in what is nowWest Java andBanten provinces in Indonesia, and has been played by theSundanese for many centuries. Theangklung and its music have become an important part of the cultural identity of Sundanese communities.[2] Playing theangklung as an orchestra requires cooperation and coordination, and is believed to promote the values of teamwork, mutual respect and social harmony.[1]
On 18 November 2010,UNESCO included the Indonesianangklung in theRepresentative List of the Intangible Cultural Heritage of Humanity, and encouraged the Indonesian people and the Indonesian government to safeguard, transmit, promote performances and to encourage the craftsmanship of theangklung.[1]
The wordangklung may have originated fromSundaneseangkleung-angkleungan, suggesting the movement of theangklung player and theonomatopoeicklung sound that comes from the instrument.[3]
According to Dr. Groneman, theangklung had already been a favorite musical instrument of the entire archipelago even before the Hindu era.[4] According toJaap Kunst inMusic in Java, besides West Java,angklung also exists inSouth Sumatra andKalimantan.Lampung, East Java and Central Java are also familiar with the instrument.[3]
In theHindu period and the time of theKingdom of Sunda, the instrument played an important role in ceremonies. Theangklung was played to honorDewi Sri, the goddess of fertility, so she would bless their land and lives.[5] Theangklung also signaled the time for prayers, and was said to have been played since the 7th century in the Kingdom of Sunda. In the Kingdom of Sunda, it provided martialmusic during theBattle of Bubat, as told in theKidung Sunda.[6]The oldest survivingangklung is theAngklung Gubrag, made in the 17th century in Jasinga,Bogor. Other antiqueangklung are stored in the Sri Baduga Museum,Bandung.[6] The oldestangklung tradition is calledangklung buhun ("ancientangklung") fromLebak Regency,Banten.[7] Theangklung buhun is an ancient type ofangklung played byBaduy people of the inland Banten province during theseren taun harvest ceremony.
In 1938,Daeng Soetigna (Sutigna), fromBandung, created anangklung that is based on the diatonic scale instead of the traditionalpélog orsléndro scales. Since then, theangklung has returned to popularity and is used for education and entertainment, and may even accompany Western instruments in an orchestra. One of the first performances ofangklung in an orchestra was in 1955 during theBandung Conference. In 1966 Udjo Ngalagena, a student of Daeng Soetigna, opened hisSaung Angklung ("House of Angklung") as a centre for its preservation and development.[6]
UNESCO included the Indonesianangklung in theRepresentative List of the Intangible Cultural Heritage of Humanity on 18 November 2010.[8]
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Angklung kanekes orAngklung buhun orAngklungbaduy is an ancientangklung originating from theBaduy inLebak, theBanten province of Indonesia. Thisangklung 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 ofangklung instruments in Kanekes from the biggest are:indung, ringkung, dongdong, gunjing, engklok, indung leutik, torolok, androel.[9]
Angklung dogdog lojor is anangklung that originates from the Dogdog Lojor culture found in the Kasepuhan Pancer Pangawinan community or KesatuanBanten Kidul scattered aroundMount Halimun.Angklung dogdog lojor is used to accompany the tradition of farming, circumcision, and marriage. Thisangklung is played by six players consisting of two players playing theangklung dogdog lojor and four players playing the largeangklung.[9][10]
Angklung gabrag is anangklung originating from Cipinang village, Cigudeg,Bogor,West Java. Thisangklung is very old and is used to honor the goddess of rice,Dewi Sri.Angklung is played duringmelak pare (rice planting),ngunjal pare (transporting rice), andngadiukeun (storage) in theleuit (barn). According to legend,gubrag angklung began to exist when Cipining village experienced a dry season becauseDewi Sri did not make it rain.[9]
Angklung badeng is anangklung originating fromGarut,West Java. Initially, thisangklung was used for the ritual of planting rice, but now it has shifted to be used to accompany the preaching of Islam. It takes nineangklung to complete theda'wah accompaniment process consisting of twoangklung roel, oneangklung kecer, fourangklung indung, twoangklung anak, twoangklung dogdogs, and twogembyung.[10]
Angklung bungko is anangklung that originates in Bungko village,Cirebon,West Java.Angklung Bungko is played with other musical instruments such askendang,tutukan, klenong andgongs. In ancient times,angklung bungko was a musical accompaniment to fights between villagers. The existingangklung bungko consists of three pieces which are believed to be 600 years old. This oldangklung is believed to have originated from Ki Gede Bungko, the elder of Bungko village, as well as the Commander of the Navy of theCirebon Sultanate in theSunan Gunung Jati era around the 15th century. Thisangklung cannot be played anymore because it is fragile. The people believe thatangklung bungko has magical powers. In ancient times, if a child was sick, when theangklung bungko was played around the village and accompanied by a dance, the child could recover on their own.[11]
Angklung badud is a type ofangklung that is used for performing arts at parades or carnivals. The art ofbadud 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.[clarification needed] The main function ofangklung 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.[12]
Angklung buncis is anangklung used for entertainment, such as theangklung in the Baros area, Arjasari,Bandung,West Java. The instruments used in the art ofangklung buncis are twoangklung indung, twoangklung ambrug,angklung panempas, twoangklung pancer, oneangklung enclok, threedogdogs (onetalingtit, onepanunggung, and onebadublag).Tarompet,kecrek, andgongs have been added over time. Theangklung buncis has asalendro tone and a vocal song can bemadenda ordegung.[13]
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 ofangklung 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 ofangklung buncis that was used for thengunjal (rice-carrying) ritual is no longer needed. The name of theangklung buncis is related to the well-known lyrics "cis kacang buncis nyengcle...". The text is part of the art ofangklung buncis, so this art form is calledbuncis.[14]
Angklung calung orcalung is a prototype musical instrument made of bamboo. In contrast to theangklung which is played by shaking, thecalung is played by hitting the rods (wilahan, bilah) of sections of bamboo tubes arranged according totiti laras (pentatonic scales),da-mi-na-ti-la. Most commonlycalung are made fromawi wulung (black bamboo), but some are made fromawi temen (white bamboo).
The meaning ofcalung, apart from being a musical instrument, is also attached to the term performance art. There are two known forms ofcalung Sunda, namelycalung rantay andcalung jinjing. This musical instrument is a traditional Sundanese musical instrument, which is also known and developed in the Banyumas region. When playing thecalung rantay, the player usually plays by sitting cross-legged, while a person playingcalung 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 thecalung era, it began to be used as a musical instrument for entertainment.[15]
Angklung Reog is a musical instrument to accompany theReog Ponorogo Dance inEast 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 laterMajapahit officials.
Angklung padaeng is a musical instrument made of bamboo which is a modern variant ofangklung. Traditionalangklung used theslendro,pelog, andmadenda scales. In 1938,Daeng Soetigna made an innovation so that theangklung could playdiatonic notes. To appreciate his work, thisangklung was namedangklung padaeng, which comes from the wordsPa (father, respected adult male) andDaeng (the inventor's name). The tuning used is diatonic, according to the western music system, and can even be presented in an orchestral form.[9]
In line withmusic theory, theangklung padaeng is divided into two groups: the melodicangklung and theakompanimen angklung. A melodyangklung specifically consists of two sound tubes with a pitch difference of one octave. In oneangklung unit, generally there are 31 small melodicangklung and 11 large melodicangklung. Meanwhile, theakompanimen 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 aresarinande angklung, arumba, toel angklung, andSri Murni angklung. After Daeng Soetigna, one of his students, Udjo Ngalagena, continued his efforts by establishingsaung angklung in theBandung area. To this day, the area known asSaung Angklung Udjo is still a center of creativity with regard toangklung.
Angklung sarinande is a term forangklung padaeng that only uses round tones (without chromatic tones) with a basic tone of C. The small unit ofangklung sarinande contains 8 angklung (Low to High Do tones), whileangklung sarinande plus contains 13 angklung (Low to High Sol until High mi).[16]
Angklung arumba is a musical ensemble of various musical instruments made ofbamboo.Angklung arumba was born around the 1960s inWest 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 fromWest Java.Angklung arumba is a term for a set of musical instruments consisting of at least:[17]
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 playAngklung toel simply 'touch' (toel) the angklung according to the tone and the angklung will vibrate for a while because of the rubber.[18]
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).[18] 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.
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It's a kind of numbered musical notation like thesolfège, 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 asda, mi, na, ti, andla. 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, andsorog/madenda.
Diatonic notation for angklung use anumbered musical notation in Indonesia, similar notation likeJianpu, but with some different standards, like the placement of rhythm lines positions and chord notations. The musical notation is written based onmovable 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.
The creation and existence ofangklung is something that is very important in the culture of theIndonesian people, especially theSundanese people. At first, the function and manufacture ofangklung were intended for certain events or ceremonies related to traditional ceremonies and rituals. Now,angklung has developed into traditional and modern musical instruments that are in demand not only by the people of Indonesia but also the world. The following are some of the functions of angklung in Indonesian culture:
In the old Sundanese tradition, angklung is played as a form of calling toDewi 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 usually take place duringSeren Taun rice harvesting and planting ceremony. This tradition is still carried out by theBaduy or Kanekes tribe, which is the remnant of the old Sundanese that still exists.
One of the largest angklung conservation and development centers is Saung Angklung Udjo (SAU). Founded in 1966 by Udjo Ngalagena and his wife Uum Sumiati, with the aim of preserving the traditional Sundanese arts and culture, especially angklung. SAU is located at Jalan Padasuka 118, EastBandung,West Java, Indonesia.
SAU is a complete cultural and educational tourism destination because SAU has a performance arena, a bamboo craft center, and a workshop for bamboo musical instruments. In addition, the presence of SAU in Bandung is more meaningful because of his concern to continue to preserve and develop Sundanese culture – especially Angklung – in the community through education and training facilities.[19]
SAU holds regular performances every afternoon. This show contains spectacular performances such as a wayang golek demonstration, a helaran ceremony, traditional dance art, beginner angklung, orchestra angklung, mass angklung, and arumba. In addition to regular performances every afternoon, Saung Angklung Udjo has repeatedly held various special performances that are performed in the morning or afternoon. The show is not limited to being held at the Saung Angklung Udjo, but also at various places both at domestic and abroad. SAU is not limited to performing arts but also sells various products of traditional bamboo musical instruments such as angklung, arumba, calung, and many more.
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InBali, an ensemble ofangklung is called agamelan angklung. While the ensemble gets its name from the bamboo shakers, they are nowadays rarely included outside of East Bali. An ensemble of mostly bronzemetallophones is used instead, generally with about 20 musicians.
While the instrumentation of thegamelan angklung is similar togamelan gong kebyar, there are several critical differences. The instruments in thegamelan angklung are tuned to a 5-toneslendro scale, although most ensembles use a four-tone mode of the five-tone scale played on instruments with four keys. An exception is the five-toneangklung from the north of Bali, which is what as many as seven keys.[20] In four-toneangklung groups, the flute players will occasionally use an implied fifth tone. Additionally, whereas many of the instruments ingong kebyar span multiple octaves of its pentatonic scale, mostgamelan angklung instruments only contain one octave, although some five-tone ensembles have roughly an octave and a half. The instruments are considerably smaller than those of thegong kebyar.
Gamelan angklung is heard in Balinese temples, where it supplies musical accompaniment to temple anniversaries (odalan). It is also characteristic of rituals related to death (pitra yadnya), and is therefore connected in Balinese culture to the invisible spiritual realm and transitions from life to death and beyond. Because of their portability,gamelan angklung instruments may be carried in processions while a funeral bier is carried from temporary burial in a cemetery to the cremation site. The musicians also often play music to accompany the cremation ceremony. Thus, many Balinese listeners associateangklung music and itsslendro scale with strong emotions evoking a combination of sacred sweetness and sadness.
The structure of the music is similar togong kebyar, although employing a four-tone scale. A pair ofjegog metallophones carries the basic melody, which is elaborated bygangsa,reyong,ceng-ceng, flute, and small drums played with mallets. A medium-sized gong, calledkempur, is generally used to punctuate a piece's major sections.
Most older compositions do not employ thegong kebyar's more ostentatious virtuosity and showmanship. Recently, many Balinese composers have createdkebyar-style works forgamelan angklung or have rearrangedkebyar melodies to fit theangklung's more restricted four-tone scale. These new pieces often featuredance, so thegamelan angklung is augmented with heavier gongs and larger drums. Additionally, some modern composers have created experimental instrumental pieces for thegamelan angklung.
In the early 20th century during the time of theDutch East Indies, theangklung was adopted inThailand, where it is calledangkalung (อังกะลุง). It was recorded thatangklung was brought to Siam in 1908 byLuang Pradit Pairoh, a royal musician in the entourage of Field Marshal PrinceBhanurangsi Savangwongse of Siam, who paid a royal visit to Java that year (27 years after the first state visit of his elder brother, KingChulalongkorn, to Java in 1871). The Thaiangklung are typically tuned in the Thai tuning system of seven equidistant steps per octave, and eachangklung has three bamboo tubes tuned in three separate octaves rather than two, as is typical in Indonesia.
In 2008, there was a grand celebration in the Thai traditional music circle to mark the 100th anniversary of the introduction ofangklung to Thailand. Both the Thai and Indonesian governments supported the celebration.
Theangklung has also been adopted by itsAustronesian-speaking neighbors, in particular byMalaysia and thePhilippines, where they are played as part of bamboo xylophone orchestras. Formally introduced into Malaysia sometime after the end of theConfrontation,angklung found immediate popularity.[21] They are generally played using apentatonic scale similar to the Indonesianslendro, although in the Philippines, sets also come in thediatonic andminor scales used to perform variousSpanish-influencedfolk music in addition to native songs in pentatonic.
At least one Sundaneseangklung buncis ensemble exists in theUnited States.Angklung Buncis Sukahejo is an ensemble atThe Evergreen State College, and includes eighteen double rattles (nine tuned pairs) and fourdog-dog drums.
On 9 July 2011, 5,182 people from many nations playedangklung together inWashington, D.C., and are listed in theGuinness Book of Records as the largestangklung ensemble.[22]
On Saturday, 5 August 2023, Indonesia succeed to break theGuinness World Records of the world's largest angklung ensamble which was conducted by 15,110 participants at theBung Karno Stadium, Jakarta. This grand event was attended by the Indonesian PresidentJoko Widodo with the ministers of the cabinet.[23]
Angklung has become a veritable symbol of Sundanese culture
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