Angklung Daeng

ANGKLUNG was defined as waditra that was made from parts of bamboo that was read out by means of being destabiliseed so as to produce certain tones (Rosidi, 2000:51. Rusnandar, et.al., 1996:23).According to mitologi Bali, said angklung came from significant figure words the tone and significant bend words was broken or were lost. Angklung could be afterwards said as the tone or the incomplete harmony (Soepandi and Atmadibrata, 1977:12).

Was not easy decisive since when art angklung began to be in Indonesia, from where from him, and whoever was first created him. However, if being seen from the history of the development of performance art of the West Javanese area, there was the trend angklung that develops today came from the West Javanese area.

In his development, according to the document that was written by Rahman A.K. Faith from the Saung Angklung Udjo Document, angklung spread widely in almost all the West Javanese corner and was utilised as the supportive artistic implement traditionalceremonies and this tradition of areas. In the Banten area, Baduy, Sukabumi, Cirebon, et cetera, angklung had the main function as ritual means like the ceremony ngaseuk pare (buried the rice seed), nginebkeun pare (kept rice for the time being), ngampihkeun pare (kept rice), seren taun (the annual ceremony), nadran (berziarah), ngunjung the Jati Mountain train (the ritual ceremony to the Jati Mountain), heleran (rolled rice), etc..

In the function as these ritual means, angklung was played to honour Dewi Sri as the fertility goddess, in order to agree to shower the fertility blessing to the agricultural crop or the activities that were carried out by the inhabitants, in the hope that, results can bring the benefit and the blessing for the inhabitants.

Apart from functioning as ritual means, angklung also was played for the interests of entertainment. In this function, angklung often was played with other traditional art. Known afterwards angklung degung, angklung that accompanied the kuda lumping, angklung that was played in art badeng and accompanied kawih (the Sundanese song), angklung that accompanied the dance, etc..

Art angklung, apart from being utilised in royal ceremonies, also was utilised as art that accompanied warfare. In warfares that were carried out by Sultan Agung Banten, his troops's attack always was accompanied by war music that was played by art angklung. As art that accompanied peperangaan, angklung also was utilised by Pajajaran royal troops in the Bubat cauldron of war.

In his development afterwards, angklung spread only was not played in the palace circle, but began to be played by the people, especially in parties of the people and agricultural ceremonies to honour gods and request the blessing to engage in farming.
From the palace, art angklung developing fast to areas of Banten Selatan and Priangan Timur, like the Garut area, Tasikmalaya, Ciamis, and the other area.

Many efforts to place came back angklung in the level of his honour. Efforts that were considered most succeeded in being efforts that were carried out by Daeng Soetigna by carrying out the modernisation of the instrument angklung during 1938 so as afterwards emerged angklung on a scale the ladder of the diatonic tone that could achieve popular musical repertoires.

Traditional Angklung
Was based on his kind angklung was divided two, angklung traditional and angklung modern. That including Angklung Tradisional was Angklung Baduy, Angklung Buncis, Angklung Gubrag, and Angklung Bungko. Whereas Angklung Modern was angklung that was developed by Daeng Sutigna and was often acknowledged as Angklung Daeng.

Angklung Baduy was not known from where the origin and since when the kind angklung this began to emerge. To the Baduy Jero community, Angklung Baduy was utilised as supportive art the traditional traditional ceremony honored Hyang Asri or Dewi Sri as the agricultural goddess and the fertility. This ceremony was known by the name of ngaseuk pare, that is the ceremony that was carried out during planting of the rice seed in the field, and the ceremony ngampihkeun pare, that is when carrying yield rice to the barn.

Angklung traditional developed together with the development of gamelan music art.
These arts filled up each other and equipped. Forms that afterwards emerged from this development were art prakpilingkung, bangkolung, angklung degung, etc. (the Saung Angklung Udjo Document, t.t.).

Modern Angklung
Angklung modern was angklung results of the development of angklung traditional that originally simple and only on a scale the ladder of the tone pentatonis, to angklung the complex that on a scale the ladder of the diatonic tone. Angklung this afterwards was known by the name of Angklung Daeng or normally to be acknowledged also as Angklung Padaeng. Because angklung this was results of the Daeng findings, a teacher Hollandsch Inlandsche School (HIS) in the Kuningan Regency, West Java (1938) that it was thought succeeded in well placing again the position angklung in the middle of the community by carrying out the modernisation of the musical instrument angklung.

Seen from the conduct played and the scale of the ladder of his tone, Angklung Daeng enabled covered popular song repertoires, not only that was met in the national musical treasury, but also West music other (Koesoemaatmadja, 1989:3).