Calung

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Calung is a Sundanese musical instrument is a prototype (prototype) of angklung. Unlike the angklung played by shaken, how to beat calung is mepukul stem (wilahan, bar) of segments (bamboo tube), composed by titi barrel (scales) pentatonic (da-mi-na-ti-la) . Types of bamboo for making most of awi calung wulung (black bamboo), but some are made from awi temen (white bamboo).

Understanding calung than as a musical instrument is also attached with the term performance art. There are two forms of Sundanese calung known, namely calung calung chain and portab
Calung chain .

Calung dideretkan tube bar chain with a leather strap hibiscus (lulub) from the largest to the smallest, in number 7 wilahan (bamboo 7) or more. Composition of the instrument there is a row and there is also a two-row (calung ovarian and calung child / calung rincik). How to play the chain calung hit with both hands as he sat bersilah, usually calung is tied to a tree or a cubicle house (calung Banjaran chain-Bandung), have also made shelf "cradle" of special bamboo / wood, for example in Cibalong tarawangsa calung and Cipatujah , Tasikmalaya, calung chain in Banjaran and Baduy / Baduy.

Calung Jingjing

The carry-shaped rows calung pitched bamboo held together with a small piece of bamboo (paniir). Calung tote of four or five fruits, such as calung kingking (consisting of 12 bamboo tubes), calung panepas (5 / 3 and 2 bamboo tubes), calung jongjrong (5 / 3 and 2 bamboo tubes), and calung barking (2 tubes bamboo). Calung completeness in its development today there are only using one kingking calung, and panempas calung two barking one, without using jongjrong calung hit with a way to play it using the right hand bat, and his left hand carrying / holding the instrument. While other inter menabuhnya techniques dimelodi, dikeleter, dikemprang, dikempyung, diraeh, dirincik, dirangkep (diracek), salancar, corkscrew and solorok.

Development

Type calung now developed and known in general that is calung portable. Calung tote is the kind of instruments that have been long known by the Sundanese people, such as the Sundanese community in Sindang heula - Brebes, Central Java, and could be the development of chain calung form. But in West Java, this art form was pioneered in popularity as students from Padjadjaran University (UNPAD) incorporated in the Department of Arts Student Council (Art Institute UNPAD) to develop this form of calung through his creativity in 1961. According to one of the pioneering, ekik Barkah, that pengkemasan calung tote with performances inspired by the performances of reog game that combines elements of percussion, movement and music combined. Then in 1963 the form of the game and hit the drum again calung further developed by the fellows of Studiklub Teater Bandung (STB; Sumaamijaya Koswara et al), and between the years 1964 to 1965 more socialized calung again by friends in UNPAD as performance art that is entertainment and information (extension (Oman Suparman, he Ruchiyat, Eppi K., Enip Sukanda, Edi, Zahir, and friends), and group calung SMAN 4 Bandung (Abdurohman et al). then emerged calung groups in society Bandung, for example Layung Sari, Ria Buana, and Glamorous (1970) and others, up to today's emerging role model names calung players including Tajudin Nirwan, Odo, Uko Hendarto, Adang Cengos, and Hendarso.

Calung artistic development so rapidly in West Java, so there is the addition of several instruments in calung, for example kosrek, kacapi, piul (violin) and some even complete with keyboard and guitar. Vocal elements become very dominant, so many famous calung emerging vocalists, such as Cengos Adang, and Hendarso.

Angklung

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Music of Indonesia
Gongs from Java
Timeline • Samples
Genres
Classical • Kecak • Kecapi suling • Tembang sunda • Pop • Dangdut • Hip hop • Kroncong • Gambang kromong • Gambus • Jaipongan • Langgam jawa • Pop Batak • Pop Minang • Pop Sunda • Qasidah modern • Rock • Tapanuli ogong • Tembang jawa
Specific Forms
Gamelan • Angklung Beleganjur • Degung • Gambang • Gong gede • Gong kebyar • Jegog • Joged bumbung • Salendro • Selunding • Semar pegulingan
Regional Music
Bali • Borneo • Java • Moluccan Islands • Papua • Sulawesi • Sumatra • Sunda

Angklung with eight pitches

Angklung is a musical instrument made out of two bamboo tubes attached to a bamboo frame. The tubes are carved so that they have a resonant pitch when struck. The two tubes are tuned to octaves. The base of the frame is held with one hand while the other hand shakes the instrument rapidly from side to side. This causes a rapidly repeating note to sound. Thus each of three or more angklung performers in an ensemble will play just one note and together complete melodies are produced. Angklung is popular throughout Southeast Asia, but originated from Indonesia (used and played by the Sundanese since the ancient times).

History

The Angklung got more international attention when Daeng Soetigna, from Bandung, West Java, expanded the angklung notations not only to play traditional pélog or sléndro scales, but also diatonic scale in 1938. Since then, angklung is often played together with other western music instruments in an orchestra. One of the first well-known performances of angklung in an orchestra was during the Bandung Conference in 1955. A few years later, Udjo Ngalagena, a student of Daeng Soetigna, opened his "Saung Angklung" (House of Angklung) in 1966 as centre of its development.

In Hindu period and Kingdom of Sunda era, Sundanese people used the angklung to sign the time for prayer. Later, Kingdom of Sunda use this instrument as corps music in Bubat War (Perang Bubat) as told in Kidung Sunda.

Angklung functioned as building the peoples community spirit. It was still used by the Sundanese until the colonial era (Dutch East Indies, V.O.C). Because of the colonial times, the Dutch East Indies government tried to forbid people playing the angklung instrument.

Because it was forbidden to play angkung during this time, the popularity of the instrument decreased and it came to be played only by children in this era.^{[citation needed]}

Gamelan Angklung

In Bali, an ensemble of angklung is called gamelan angklung (anklung). While the ensemble gets its name from the bamboo shakers, these days most compositions for Gamelan Angklung do not use them. An ensemble of mostly bronze metallophones is used instead.

While the instrumentation of gamelan angklung is similar to gamelan gong kebyar, it has several critical differences. First, the instruments are tuned to a 5-tone slendro scale, though actually most ensembles use a four-tone mode of the five-tone scale (an exception would be five-tone angklung from the north of Bali.) Secondly, whereas many of the instruments in gong kebyar span multiple octaves of its pentatonic scale, gamelan angklung instruments only contain one octave, though some five-tone ensembles have roughly an octave and a half. The instruments are often considerably smaller, and hence more portable when used in cremation rituals. The musicians often play in a procession as the funeral bier is carried from the cemetery to the cremation site, in addition to playing music to accompany the ceremony.

The structure of the music is similar to gong kebyar. Jublag and jegog carry the basic melody, which is elaborated by gangsa, reyong, ceng-ceng, drum, and flute. A medium sized gong, called kempur, is generally used to punctuate a song's major sections. And although most older compositions generally do not employ gong kebyar's more ostentatious virtuosity and showmanship, many Balinese composers have created kebyar-style works for gamelan angklung, often featuring dance.

Outside Indonesia

In the early 20th century, the angklung was adopted in Thailand, where it is called angkalung (อังกะลุง). The Thai angklung are typically tuned in the Thai tuning system of seven equidistant steps per octave, and each angklung has three bamboo tubes tuned in three separate octaves rather than two, as is typical in Indonesia.

Angklung had also been adopted by its Austronesian neighbours, in particular by Malaysia and the Philippines, where they are rather played as part of bamboo xylophone orchestras. Formally introduced into Malaysia sometime after the end of confrontation, it found immediate popularity. They are generally played using a pentatonic scale similar to the Indonesian slendro, although in the Philippines, sets also come in the diatric and minor scales used to perform various Spanish-influenced folk music.

At least one Sundanese angklung buncis ensemble exists in the United States. Angklung Buncis Sukahejo is an ensemble at The Evergreen State College, and includes eighteen double rattles (nine tuned pairs) and four dog-dog drums.

Saron

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Saron (also known as ricik) is one of the gamelan instruments including balungan family.

In one set of gamelan usually have 4 saron, and all have versions pelog and slendro. Saron produce a tone an octave higher than demung, with a physical size smaller. Hit the saron usually made of wood, with a shape like a hammer.

There is a way ordinary menabuhnya appropriate tone, a tone that yields, or alternately beat between saron saron 1 and 2. Slow and fast hard penabuhan weak depending on the command of the drum and the type gendhingnya. In Gangsaran piece describing the condition of war for example, ricik struck hard and fast. In a nuanced piece of military Gati, beating ricik slow but hard. When accompanying the song struck softly.

In saron play, hitting the right hand wilahan / sheet metal with percussion, then the left hand punch that struck the previous wilahan to eliminate the hum from the beating that left the previous tone. This technique is called memathet (basic words: pathet = squeeze)

Serunai

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For the 1964 movie, see Shehnai (film).

Shehnai

Other names	Shehnai
	.

The Shehnai is an aerophonic instrument which is thought to bring good luck, and as a result, is widely used in India for marriages and processions.

This tube-like instrument gradually broadens towards the lower end. It usually has between six and nine holes. It employs two sets of double reeds, making it a quadruple reed woodwind. By controlling the breath, various tunes can be played on it.

Ustad (Master) Bismillah Khan was a well-known shehnai player. Another player of the shehnai is the Ahmadi Black American jazz musician, Yusef Lateef. Dave Mason played shehnai on the Rolling Stones' 1968 hit song "Street Fighting Man".

Origin of the shehnai

The shehnai is believed to have originated in the Kashmir Valley, where people use the instrument in band-i-pather. The shehnai is thought to have been created by improving upon the pungi (a woodwind folk instrument used primarily for snake charming).

There are varying legends of the shehnai's origin. In one of these, a Shah initially banned the playing of the pungi in his court due to its shrill sound. A barber, belonging to a family of musicians, improved on it and created the shehnai. As it was played in the Shah's court and giving due reference to the nai or barber, the new instrument was called shehnai.

In other variants of the legend, the shehnai was

• named after a shehnai player called Saina,
• derived from sheh (breath) and nai (flute), or
• derived from the combination of the Persian words shah (king), and nai (flute) to give the meaning "the king's flute".

Another theory of the origin of the shehnai is that the name is a modification of the word "sur-nal". The word nal/nali/nad is used in many Indian languages to mean pipe or reed. The word "sur" means tone or tune—musical note or simply music—and is used as a prefix to the names of many Indian instruments. The "sur-nal" is said to have given its name to the "surna/zurna" which is the name by which the reed-pipe is known throughout the Middle East and eastern Europe. Shenhnai is usually played in Traditional North Indian Marriages and is associated with the Bride leaving her parental house for her Husband's house. Sometimes, two shehnais can be tied together, making it a double shawm similar to the ancient Greek aulos.

Rebana

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Rebana

Rebana is a name that is used for several types of drums that are used in Islamic devotional music such as zikir, dance music, and other types of traditional Malay song and in dance Malaysia, Brunei, Indonesia and Singapore. It typically has a resonant sound reminiscent of the Middle Eastern tanbur and is often used to keep the beat in a manner similar to the way the tanbour is used in Middle Eastern music. Malay Rebana are different from the javanese drum or "Kendang". Rebana may only have one face to hit while Javanese Kendang may have two face.

There are many type of rebana, the biggest rebana known is Rebana Ubi. Rebana Ubi are widely use by the Malay people in East Coast Malaysia such Kelantan or Terengganu. This type of rebana is the only rebana have a decorative pattern on the body and the face.Smaller rebana also known as Kompang is widely use by Malay people when celebrating the bride and groom in a wedding ceremony.In state of Johore, a type of Rebana known as Rebana Hadrah. Meanwhile in Sumatra, Malay and Minang people also use rebana in many native dance.

Saluang

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Saluang performance

The saluang is a traditional musical instrument of the Minangkabau people of West Sumatra, Indonesia. It is similar to the flute in general and made of bamboo. It is related to the suling of other parts of Indonesia.

It is made of thin bamboo or "talang" (Schizostachyum brachycladum Kurz), with 4 hole. Saluang more simple than other kind of flute because it is made just adding 4 holes and finish. The dimension of saluang is 3-4 cm in diameter and 40-60 cm in length. It is related to the suling of other parts of Indonesia.

Saluang player can play that music instrument without interrupting for taking breath from start to end of song. They have developed special breath technique in blowing that instrument without stopping for breathtaking.

Minangkabau people believe that talang which is collected from rack of clothes dryer or found drifting in the river is a good material for making saluang . Traditionally Minangkabau people also use talang as a container for sticky rice food (lamang, lemang) and as horizontal rack for drying clothes (jemuran kain) under sunlight .

One famous saluang player is Idris Sutan Sati with saluang female singer Syamsimar. Today, it is not so easy to find classic saluang cassette even in original place of saluang (Minangkabau).

Style of saluang tune for example : Singgalang, Pariaman, Koto Tuo, Ratok Solok, Cupak, Salayo and Pauah. Singgalang style is quite difficult for the beginners. High skilled saluang player can play many styles and audience can request any style to them.

In the past, Minangkabau people believed that saluang player have pitunang (mantra) or magic power for hypnotizing the audience. That mantra called as Pitunang Nabi Daud ^.

Talempong

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Talempong was played.

Talempong is a unique instrument at Minangkabau tribe. Its form is similar to the instruments in the gamelan bonangs. Talempong can be made of brass, but some are made of wood and stone. Currently Talempong from brass type is more widely used. This Talempong circular hollow on the bottom while the top there is a prominent traffic circle two inches in diameter as a place to hit. Talempong has a tone different. The sound produced from a pair of wood that struck the surface.

Talempong usually used to accompany a dance performance or a welcoming, like a typical plate Dance, Dance Pasambahan, and Dance Wave. Talempong also used to sing a special welcoming music. This Talempong memainkanya need flair pranada ladder begins with DO and end with the SI. [Citation needed] Talempong accompanied by a chord memainkanya similar way to play the piano.