Taun 1998 pribados ngadamel website anu salah sawios eusina ngeunaan cianjuran
dina alamat http://members.tripod.com/pasundan/. Info Cianjuran eta dicutat
tina salahsawios sumber (kahoyong mah ditulis dina eta web kango rujukan, mung
hilap deui sumberna, katambih hilap deui password kanggo ngaeditna). Info
Cianjuran eta bade dialihkeun ka wikipedia saenggalna. Sapuk kana usulan kang
Egi; kanggo saayeunaeun urang kawitan bajoang sewang-sewangan.
Bilih panasaran kana infona, tah kieu infona:
Tembang Sunda
Tembang Sunda is a genre of Sundanese vocal music accompanied by a core
ensemble of two kacapi (zither) and a suling (bamboo flute). Tembang means
song or poem and Sunda is a geographical, historical, and cultural construct
which signifies home for the Sundanese people of Indonesia. The music and
poetry of tembang Sunda are closely associated with the Priangan (literally
the abode of the gods), the highland plateau that transverses the central and
southern parts of Sunda. The natural beauty of Priangan, a lush agricultural
region surrounded by mountains and volcanoes, is reflected in many songs of the
tembang Sunda.
Below are some samples of Tembang Sunda Cianjuran (in Real Audio format):
Title
Pasisian Panyileukan Budak
Ceurik Budak Leungit Sekar Manis
Pangbagea Selabintana Salaka Domas
Taman Endah Mega Beureum
Tembang Sunda Repertoire
Tembang Sunda originated in the mid-nineteenth century in the regency
(kabupaten) of Cianjur. In order to emphasize its origin, the genre is often
called Cianjuran (in the style of Cianjur). During the Dutch colonial period,
regencies were administrative and cultural centers where aristocratic
performing arts flourished under the patronage of the regents (Bupati). It is
believed that R. A. Koesoemaningrat popularly known as Dalem Pancaniti, the
regent of Cianjur (1834-1863), ordered poets to compose new songs based on
the songs of Pantun Sunda. Pantun Sunda is a genre of Sundanese oral narative
performance in which a solo storyteller recounts the glory of past kingdoms
and the exploits of heroic figures. Throughout the narrative, the performer
interjects songs accompanied by a kacapi. The regents poets borrowed
instrumental and vocal melodic patterns, poetic themes, and even certain
lyric phrases from the songs of Pantun Sunda. Songs of this
type, called papantunan (in the style of pantun), are sung in a free rhytmic
declamatory style.
Later, composers, introduced new song types including rarancagan , which
follow the conventions of traditional Sundanese poetic meters (pupuh). Pupuh
specify the number of lines in each verse as well as the ending syllables of
each line. The most recent addition to the genre are the fixed-meter songs
called panambih (literally addition). The panambih repertoire includes
adaptations of songs from other genres of Sundanese music. For example, many
panambih have been adapted from songs accompanied by Sundanese gamelan an
ensemble dominated by gongs and metallophones. Newly composed panambih have
been introduced since the 1950s and provide a rich forum for new compositions
by present-day composers.
The Instruments
The accompanying ensemble consists of the kacapi indung (a large
eighteen-string zither), one or two kacapi rincik (a smaller fifteen-string
zither), suling (bamboo flute), and occasionally a rebab (two-string bowed
lute). The kacapi indung is a long box with the underside left uncovered to
allow the sound out. The sides of the kacapi indung taper inward from top to
bottom, which gives the instrument a boat-like shape; in fact, it is
sometimes called a boat kacapi (kacapi parahu). The instrument is ornamented
on each side of the box with carved shapes that curl inward (gelung), and
varnished with a rather shiny black finish. Each of the eighteen strings is
affixed to a small screw or peg on the top right hand side of the box. The
string then passes over a pyramidal bridge and through small holes on the top
of the box. The other end of each string is wrapped around a horizontal
tuning peg which passes through holes on the front of the instrument, and
into the hollow box. The player tunes by adjusting the tension of the tuning
pegs and fine tunes by moving the bridges.
There are two basic accompaniment styles for kacapi indung. The first
style, used for accompanying unmetered songs (mamaos), involves two different
ways of striking the strings. The right index finger plucks the strings with
an outward flicking motion while the left index finger strikes the strings in
a downward motion. This technique may be used to create long, often rapid,
melodic passages or runs as the fingers move up and down the strings in
conjunction with the vocal melody.
The second kacapi accompaniment style is used to accompany panambih. In
this style, the player uses a claw technique in both hands (right hand thumb
and index finger, left hand thumb and midle finger). The two hands play
stereotypical patterns based on fixed positions. The right hand plays patterns
in the upper register of the instrument which are characterized by the
alteration of pitches. The left hand plays patterns in the lower register of
the instrument which emphasize the main structural tone. Both hands move
together from one position to another, in accordance with the structural and
tonal outline of the composition.
The kacapi rincik is smaller and less ornamented than the kacapi indung.
Each of the fifteen strings is affixed to a tuning screw on the top of the
box. The string then passes over a bridge and through small holes on the top
of the box. On the underside of the top soundboard, each string is affixed. The
player tunes by adjusting the tension of the tuning screws. The playing
technique for kacapi rincik is similar to the accompaniment style used for
mamaos. In recent times, ensembles have begun using a second kacapi rincik
that adds rhythmic emphasis and creates a richer ensemble texture.
The suling, an end-blown bamboo flute, is the latest addition to the
ensemble. The top of the suling is made by leaving one node of the bamboo
intact. A small notch is cut into the node on one edge. The node is then
surrounded by a thin ring of rattan, creating an air passage for the player.
The button of the suling is left open. The suling has six holes and,
depending on the fingering, can be used to play pieces in several different
tuning systems. The suling trails or echoes the vocal melody, and plays the
main melody of the piece in instrumental sections called gelenyu. The suling
player may also cue the singer at certain points in the melody. A related
instrumental genre, called kacapi-suling, features the improvisations and
virtuosity of the suling player accompanied by two kacapi.
Performance Practice
Tembang Sunda is best suited to intimate gatherings of fellow artists,
friends, and aficionados. Most of the gatherings take place in the evening
and sometimes last until early the next morning. These occasions provide the
opportunity to express ones feelings in song away from the din and rustle of
everyday life. Tembang Sunda may also be played in conjunction with hajat
ceremonial feasts to celebrate a wedding, boy circumcision, or other lifecycle
event. Additional performance contexts include concerts, music contests
(pasanggiri), radio and television broadcasts (siaran), and larger public
gatherings (panglawungan).
In contemporary performance practice, different types of songs are strung
together in medley beginning with unmetered songs (mamaos) and ending with
fixed-meter songs (panambih). Mamaos may be sung by male or female singers
who usually alternate verses in performance. Mamaos are accompanied by the
kacapi indung and the suling. Panambih are sung exclusively by female singers.
The accompanying ensemble for panambih include kacapi indung, suling, and one
or two kacapi rincik (small zither).
In a typical evening of tembang Sunda, three tuning systems are employed;
pelog, sorog, and salendro. A tuning system is characterized by the intervals
that comprise it; however, the pitches are not fixed or absolute. Each tuning
systemhas its own repertory of songs and, to some extent, its own mood.
However, songs often include tones and entire passages borrowed from other
tuning systems. An evening of tembang Sunda always begins with pelog. The
pitches of the pelog tuning are approximately equivalent to the following
Western pitches: f,e,c,bb,a3. At a certain point in a performance, the
ensemble shifts to sorog. The kacapi players tune their instruments to sorog
by tightening one of the string in each octave, raising the pitch
approximately a major second. The approximate Western pitches for sorog are as
follows: f,e,d,bb,a. Songs in the sorog tuning system are thought to express a
heightened emotional quality and these songs are best sung around
midnight. A separate repertory of songs in the salendro tuning system has
been adapted for tembang sunda. Salendro is associated with a more lively and
light-hearted mood, and are usually sung in the morning hours when people
ready to return home from rice field.
Salam,
Asep
Egi Al Ghifari <[EMAIL PROTECTED]> wrote:
Baraya,
Sok atuh motekar ku carana sewang-sewangan, ulah mung dugi "wacana" tulisana
hungkul. Komunitas urang Sunda di Internet tiasa ngawitan upload video2
kasenian sunda + deskripsina nu jelas (sae upami B.Inggris , supados kahartos
ku deungeun2). Tiasa nyerat di wikipedia, tiasa ngadamel website sareng
sajabana nu aya pakaitna sareng kasenian Sunda.
---------------------------------
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