history of Gendang

Gendang (Javanese: kendhang, Malay: Drum, Tausug language / Bajau language Maranao: Gandang) is a musical instrument that done than the skins of animals such as buffalo, goats or cattle. He is one of a Muzik tool in the drum family.

Every nation like China, Malays and Indians have a drum with a distinctive name. Drum may be found in various Size and usability. There is a drum that is used for martial for the Malays. There is a drum used for dance dance and some are used for celebration or pertabalan `s welcome.

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Jaipongan

Jaipongan is a genre of dance that was born from the creativity of an artist from Bandung, Gugum Gumbira. Attention to folk art, one of which is Tap Tilu know and know well make it perbendaharan dance movement patterns that exist in the tradition Kliningan / Bajidoran or Tap Tilu. Opening movements, pencugan, nibakeun and several kinds of motion of several arts mincid above have enough inspiration to develop a dance or art that is now known as the Jaipongan.
Before this form of performance art show, there are several forms of dance influences behind this association. In West Java, for example, social dance is the influence of the Ball Room, which is usually in a dance-dance association could not be separated from existence and pamogoran ronggeng. Ronggeng in social dance is no longer functioning for activities of the ceremony, but for entertainment or a way of hanging out. The existence ronggeng in the performing arts has an appeal that invites sympathy for the pamogoran. For example on Tilu Tap dance is so well known by the Sundanese people, is expected this art popular around the year 1916. As the folk performing arts, this art is supported only by simple elements, such as waditra that includes fiddle, drums, two kulanter, three percussion, and gongs. Similarly, the dance movements that do not have a standard pattern of motion, a simple costume dancer as a reflection of democracy.
Along with the waning type of art above, the former pamogoran (spectators who play an active role in the performing arts Tap Tilu / Doger / Tayub) switched its attention on the performing arts Kliningan, which in the north coast of West Java (Karawang, Bekasi, Purwakarta, Indramayu, and Subang ) known as Kliningan Bajidoran dance patterns and events that show has some similarities with the previous art (Tap Tilu / Doger / Tayub). In the meantime, the existence of masked dances in Banjet quite popular, especially in Karachi, where some Bajidoran motion pattern taken from the dance in this Banjet Mask. In koreografis dance is still reveal the patterns of tradition (Tap Tilu) which contains elements of the opening movements, pencugan, nibakeun and several kinds of motion mincid which in turn become the basis of the creation of dance Jaipongan. Some basic dance movements Jaipongan apart from Tap Tilu, Ibing Bajidor and Mask Banjet is Tayuban and Pencak Silat.
The emergence of dance works Gugum Gumbira initially called Tap Tilu development, that is because it is a basic dance from Tap Tilu development. The first work Gugum Gumbira still very thick with color Ibing Tilu Tap, both in terms of choreography and iringannya, who then dance it became popularly known as Jaipongan.

Developing
 
Work Jaipongan first began to be known by the public is dance "Leaves Pulus Keser Bojong" and "Rendeng Bojong" both of which are types of dance girls and dance in pairs (boys and girls). From the dance that emerged a few names that are reliable Jaipongan dancers like Tati Saleh, Yeti Mamat, Eli Somali, and Pepen Dedi Kurniadi. Early emergence of the dance had become a conversation, the central issue is the movement of the erotic and vulgar. But from the few print media exposure, name Gugum Gumbira becoming known society, especially after the dance Jaipongan in 1980 staged at the central station TVRI Jakarta. The impact of the popularity of the more increases the frequency of performances, both in the medium of television, a celebration or celebrations held by the private sector and government.
Attendance Jaipongan significant contribution towards the instigators of the art of dance to more actively explore the types of folk dances that were previously less attention. With the emergence of dance Jaipongan, used by activists to organize dance courses dance Jaipongan, used also by businessmen pubs as a decoy night invited guests, where the development of further business opportunities this kind of dance was formed by activists as an effort by the economic empowerment Dance Studio names or groups in some areas of West Java, for example in Subang with Jaipongan style "kaleran" (north).
Typical Jaipongan kaleran style, which is fun, erotic, humorous, excitement, spontaneity, and simplicity (naturally, whatever they are). This was reflected in the pattern of presentation of dance on the show, there is a given pattern (Ibing pattern) as in art Jaipongan in Bandung, also there are also dances that are not dipola (Ibing Saka), for example in art Jaipongan Subang and Karawang. This term can be found in Jaipongan kaleran style, especially in the area of ​​Subang. In the presentation, this kaleran Jaipongan style, as follows: 1) Tatalu; 2) Flower Gadung; 3) Fruit Kawung Gopar; 4) Dance Opening (Ibing Pattern), usually performed by a single dancer or Sinden Tatandakan (sinden attack but can not sing but dance songs sinden / interpreter kawih); 5) Jeblokan and Jabanan, is part performance when the audience (Bajidor) Sawer money (jabanan) while greeting paste. Jeblokan term is defined as couples who settled between sinden and the audience (Bajidor).
Further development occurred in taahun dance Jaipongan 1980-1990's, where Gugum Gumbira create another dance such as Toka-toka, Setra Sari, Sonteng, Pencug, Heron dazed, motorcade procession Leaf-Puring, Rawayan, and Dance Kawung Anten. From these dances appear some skilled dancers Jaipongan include Iceu Effendi, Yumiati Mandiri, Miming Mintarsih, Nani, Erna, Mira Tejaningrum, Ine Dinar, Ega, Nuni, Cepy, Agah, Aa Suryabrata, and Asep.
Today the dance Jaipongan be called as one of identity keseniaan West Java, this is apparent on several important events relating to visitors from foreign countries who came to West Java, it was greeted with Jaipongan dance performances. Similarly, with art missions to foreign countries, always equipped with a dance Jaipongan. Dance Jaipongan affect many other crafts in the community of West Java, both on the art of wayang, gamelan, Genjring / Terbangan, Kacapi jaipong, and almost all public performances as well as on modern dangdut music which collaborated with the art Jaipong Pong-Dut. Jaipongan which has diplopori by Mr. Nur & Leni

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KERONCONG

Keroncong is the name of the ukulele and similar musical instruments as well as the name of the type music that uses distinctive Indonesia keroncong musical instruments, flutes, and a female singer.
The origin
Keroncong derived from similar roots music known as Fado Portuguese introduced by the sailors and the slave ships trading nation since the 16th century to the archipelago. From mainland India (Goa) was first entered music in Malacca and later played by slaves from the Moluccas. The weakening influence of Portuguese in the 17th century in the archipelago not necessarily mean this music is also missing. An early form of music is called moresco (a dance of Spanish origin, such as polka rather slow rhythm), in which one of the songs by Kusbini rearranged now known as Kr. Muritsku, accompanied by a stringed musical instrument. Keroncong music coming from the Tugu monument called keroncong. In the development, signed a number of traditional elements of the archipelago, such as the use of flute as well as some components of the gamelan. At about the 19th century musical form this mixture has been popular in many parts of the archipelago, even down to the Malay Peninsula. This golden era continued until around the 1960's, and then faded due to the inclusion of a wave of popular music (rock music has been growing since 1950, and berjayanya Beatle music and the like since 1961 till now). Nevertheless, the music still played keroncong and enjoyed by all walks of life in Indonesia and Malaysia until now.
Musical instruments
In its earliest form, accompanied by music moresco strings, such as violin, ukulele, and cello. Percussion is also sometimes used. Set orchestra of this kind is still used by keroncong monument, which still form keroncong played by Portuguese slave descendant community of Ambon who lived in Kampung Tugu, North Jakarta, which then developed to the south in Gambir Kemayoran and by the Betawi music mingle with Tanjidor (year 1880-1920). Year 1920-1960 development center moved to Solo, and adapt to a slower rhythm according to the nature of the Javanese.
Pem-"native" art of making keroncong mix, with musical instruments such as

    * Indian sitar
    * Fiddle
    * Bamboo flute
    * Drum, kenong, and saron as a set of gamelan
    * Gong.
Currently, musical instruments used in orchestra keroncong cover

    * Choke ukulele, string 3 (nylon), his tone sequence is G, B and E; as the main instrument voicing crong - crong so-called keroncong (found in 1879 in Hawaii, and is an early milestone in the start of music keroncong)
    * Cak ukulele, string 4 (steel), the order of tone A, D, Phys, and B. So when other musical instruments playing scales C, cak play on scales F (known as in F);
    * Acoustic guitar as a guitar melody, played with style kontrapuntis (anti-melody);
    * Violin (replacing Rebab); since made by the Amati or Stradivarius of Cremona Italy around the year 1600 has never changed its model to the present;
    * Flute (replace Bamboo Flute), in the Flute Era Old Days Albert wore (a black wooden flute with holes and valve, somewhat broken voice, orchestra samples Lief Java), while in the Era of the Eternal Keroncong been using Bohm Flute (flute metal all with valve, the sound is more refined with a beautiful tone ornaments, examples flutis Sunarno from Solo or Beny Waluyo from Jakarta);
    * Cello; betot replace the drums, also has never changed since made by Amati and Stradivarius of Cremona Italy 1600, except that in keroncong typically played plucked / pizzicato;
    * Contrabass (replacing Gong), was also plucked bass, has never changed since the Amati and Stradivarius of Cremona Italy in 1600 made him;
Rhythm keeper held by ukulele and bass. Kontrapuntis guitar and cello which regulate rhythmic chord transition. The violin melody serves as a guide, as well as decoration / ornament below. Flut fill top decoration, floating melodies fill the empty space.
Keroncong form mixed with popular music is now using a single organ and synthesizer to accompany the song keroncong (in a single stage of the all party organs can play keroncong, dangdut, rock, polka, mars).
Type keroncong
Music keroncong more inclined to the chord progressions and the type of tool used. Since the mid-20th century has been known for at least three kinds of keroncong, which can be recognized from the pattern of progression akordnya. For musicians who already understand the plot, accompanied keroncong songs are actually not difficult, because quite match the pattern applies. Development is done by maintaining the consistency of the pattern. In addition, there are mixed forms and adaptations.
The development of contemporary keroncong
Having undergone a long evolution since the arrival of the Portuguese in Indonesia (1522) and the settlement of slaves in the area of ​​Kampung Tugu in 1661, and this is the early evolution of the long keroncong music (1661-1880), nearly two centuries, but have not shown the identity of keroncong actual voice-crong crong-crong, so that the music virtually keroncong not yet born in 1661-1880.
And finally keroncong music experience short-term evolution of the last since 1880 until now, with three stages of the latest developments already in progress and a forecast of new developments (keroncong millennium). Early milestone was in 1879, when the discovery of the Hawaiian ukulele which soon became the main instrument in keroncong (voice ukulele: crong-crong-crong), whereas the early millennium keroncong existing signs, but not yet developed (Bondan Prakoso).
Four stages of the development is

    (A) The tempo doeloe (1880-1920),
    (B) The eternal keroncong (1920-1960), and
    (C) The period of modern keroncong (1960-2000), as well as
    (D) The period of keroncong millennium (2000-present)

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Original music dangdut Indonesia

Dangdut musical journey proved to have a long history, long before the naming of this music happen. Pull pull the popularity of this music among singers, Indonesia and Malaysia also had to happen, though ultimately dangdut musicians appear to dominate the country.

Munif Bahasuan which is considered the pioneer of music and dangdut maestro homeland, said he did not know where the term originated. Because, he said, in the 1940s had a lot of music that was born smelling dangdut, but not the music called dangdut., Munif My horse song called Run, which was sung A Harris in 1953, as one of the pioneers of rhythm track that was later called dangdut. The reason, the song has the courage to enter the Indian-style drum sound in the orchestra which was originally just using guitar, harmonium, bass and mandolin.
In the 1950s, in addition to any A Harris, also there are the names of other dangdut singers, such as Emma Ganges, Hasnah Thahar, and Juhana Satar. But then came a time when the supremacy of the Malay rhythmic songs annexed neighboring country of Malaysia.
The popularity of P Ramlee, Malaysian singer who claimed descent Aceh, Malay music mecca move to the country. Through the song you Laksana Moon and Aziz, P Ramlee victorious unrivaled. Moreover, after which he also starred in several movies. Its popularity in Indonesia even more fertile. All that smelled Ramlee becomes a trend.
But, in the 1960s, there emerged Said Effendi, who managed to restore the supremacy of the Malay rhythms from Malaysia to Indonesia. Through the song's Ark rate, Said Effendi put myself as the singer of rhythm Malay topnotch country. He rid the popularity of P Ramlee.
Said Effendi has popular songs created by itself, like the Ark rate, Buck-buckle, and Fatwa poet, as well as track other people's work, for example last night in Malaysia (Syaiful Bahri) and on the verge of Evening (Ismail Marzuki).
Said Effendi fame increasingly unbearable, when he appeared with the work of Hussein Bawafie Seroja song. Success Seroja attract directors to menokohkan Said Nawi Ismail Effendi into the movie with the same title. After that, the director Asrul Sani Said Effendi also interesting to make a movie Titian Serambut cleaved Seven.

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Angklung

Angklung is a musical instrument multitonal (dual pitched), which is traditionally grown in the Sundanese-speaking community in the western part of Java Island. This musical instrument made of bamboo, sounded shaken by (the sound caused by the clash of bodies bamboo pipes) so as to produce a sound that vibrates in the arrangement of tones 2, 3, and 4 tones in every size, large or small. Barrel (tone) musical instrument Angklung as Sundanese traditional music is mostly salendro and pelog.
Angklung is listed as Masterpieces of Oral Heritage and Human Nonbendawi of UNESCO since November 2010.
The origin
There is no indication since when angklung used, but the alleged primitive forms have been used in Neolithic culture that flourished in the archipelago until the beginning of the modern calendar, so angklung is part of the relics of pre-culture of Hinduism in the archipelago.
Notes on the emerging angklung refer the Kingdom of Sunda (the 12th century until the 16th century). The origin of the creation of bamboo music, such as angklung based view of the agrarian life of Sundanese people with a source of life of paddy (pare) as a staple food. This gave rise to the myth of trust in Nyai Sri Pohaci as a symbol of Goddess of Rice giver of life (breathe-Hurip). Bedouin society, regarded as the remnants of native Sundanese people, applying the angklung as part of the ritual began planting rice. Games angklung gubrag in Jasinga, Bogor, is one that is still alive since more than 400 years ago. Appearance originated from rice rites. Angklung created and played to lure Dewi Sri down to earth for the people of the rice plant thrives.
This type of bamboo used as a musical instrument is the black bamboo (AWI wulung) and white bamboo (AWI friends). Each tone (barrel) is produced from the sound of tube-shaped bamboo bar (wilahan) every segment of bamboo from small to large.
Known by the Sundanese community since the time of the Sunda kingdom, of which as penggugah spirit in battle. Angklung function as pumping continues to feel the spirit of the people still come to the colonial period, that's why the Dutch East Indies government had banned the use angklung, the ban could make angklung popularity declined and only played by children at that time. [Citation needed]
Furthermore, the songs offerings to Dewi Sri is accompanied by the sound of percussion accompaniment made from bamboo poles that simple packed structures which then was born the bamboo musical instrument we know today named angklung. Similarly, when the harvest festival dedicated to the game and seren taun angklung. Especially at the presentation ceremony Angklung related to rice, it becomes a performance art that are the parade or helaran, even in some places into the convoy Rengkong and Dongdang and Jampana (stretcher food) and so forth.
In its development, angklung grow and spread all over Java, then to Kalimantan and Sumatra. In 1908 recorded a cultural mission from Indonesia to Thailand, among others, marked the transfer angklung and bamboo music of this game also had spread there.
In fact, since 1966, Udjo Ngalagena angklung figures who developed the technique based on barrel-barrel game pelog, salendro, and madenda-start teaching how to play angklung to many people from various communities.
Angklung Kanekes
Angklung Kanekes area (we often call them Baduy) is used primarily because of its relationship with the rites of rice, not solely for the entertainment of people. Angklung is used or is sounded when they grow rice in shifting cultivation (field). Angklung beat when growing rice there is only rung free (dikurulungkeun), especially in Kajeroan (Tangtu; Baduy Jero), and there are with certain rhythmic, namely in Kaluaran (Outer Baduy). However, still can be displayed on the outside but still have the rite paddy rules, for example, may only beaten until his ngubaran pare (treating paddy), about three months from the time planted rice. After that, during the next six months all the arts should not be played, and can be played again on the next rice planting season. Closes angklung implemented with event called musungkeun angklung, namely nitipkeun (leave, keep) angklung after use.
In the presentation of entertainment, usually held during Angklung bright moon and no rain. They play in the game angklung (page widespread in rural areas) while singing various songs, among others: monkey Kasarung, Yandu Aunt, Yandu Sala, Ceuk Arileu, Oray-orayan, Dengdang, Yari Gandang, Oyong-Oyong Bangkong, Kula Agency, Kokoloyoran, Swing-swing, Pileuleuyan, Gandrung Mangosteen, Rujak Gadung, Mulung Muncang, Giler, Ngaranggeong, Aceukna, Marengo, Salak Sadapur, Rangda Ngendong, Celementre, Keupat Reundang, Papacangan, and Culadi Dengdang. The drummers angklung eight people and three drummers drum small size make the standing position while walking in a circle formation. Meanwhile others had ngalage (dance) with a specific movement that has been raw but simple. Everything is done only by men. This is different to the community Daduy In, they are limited by custom with the various rules pamali (abstinence; taboo), should not be doing things excessive worldly pleasures. Art solely for ritual purposes.
Angklung names in Kanekes of the largest are: ovarian, ringkung, Dongdong, gossip, engklok, ovarian leutik, torolok, and Roel. Roel which consists of 2 pieces held by a angklung. The names of the longest drum are: drum, talingtit, and percussion. The use of drum instruments there is a difference, namely in the villages they wear Kaluaran drum as much as 3 pieces. In Kajeroan; Cikeusik village, just use the drum and talingtit, without percussion. In Kajeroan, Cibeo village, just use the drum, without talingtit and percussion.
In Kanekes who is the person entitled to make angklung Kajeroan (Tangtu; Baduy Jero). Kajeroan consists of 3 villages, namely Cibeo, Cikartawana, and Cikeusik. In all three villages is not everyone can make it, only that have offspring and have the right to do just that in addition to the requirements of ritual. Angklung makers in the famous Cikeusik is Amir's father (59), and in Cikartawana father Tarnah. People buy from people Kaluaran Kajeroan in three village.
Angklung Dogdog LojorArt is available at the community dogdog lojor Kasepuhan Pancer Pangawinan or customs union Banten Kidul scattered around Mount Mist (bordering Jakarta, Bogor and Lebak). Although this art is called dogdog lojor, the name of one of the instruments in it, but there is also used angklung because the connection with the ritual of rice. Once a year, after harvesting the whole community held an event or seren Serah Taun Taun on traditional village center. Traditional village center as a place of residence kokolot (elders) the place always on the move as directed supernatural.
The tradition of respect for rice in this community is still carried out because they included people who still adhere to old customs. By tradition they claim to be descendants of the officers and soldiers in the palace Pajajaran Baresan Pangawinan (soldier armed with a lance). Kasepuhan community has embraced Islam and somewhat open to the influence of modernization, as well as entertainment things worldly pleasures can be enjoyed. This attitude also affects the function of art in terms that since about the 1970s, dogdog lojor has been progressing, which is used to enliven the circumcision of children, marriage, and other festive events. The instruments used in the arts dogdog lojor is 2 pieces of fruit and 4 dogdog lojor big angklung. These four fruit angklung has a name, which is called the bark, then panembal, Kingking, and inclok. Each instrument is played by one, making a total of six people.
Songs include dogdog lojor Bale Agung, Side Hideung, shaky-shaky Papanganten, Si Tunggul Kawung, Adulilang, and Adu-complaint. These songs form of vocals with rhythmic dogdog and angklung tend to remain.
Angklung gubrag
Angklung gubrag Cipining there in the village, Cigudeg subdistrict, Bogor. Angklung has old age and used to honor the goddess of rice in the activities carry pare (rice), ngunjal pare (transporting rice), and ngadiukeun (put) into leuit (barn).
In the myth angklung gubrag began there was a time when village Cipining experiencing a bad season.
Angklung BadengBadeng is a type of art that emphasize the musical aspect with angklung as the main instrument. Sanding there Badeng Village, District Malangbong, Garut. Used to serve as entertainment for the benefit of the Islamic da'wah. But the alleged Badeng has been used since the old society from the pre-Islamic for events associated with the ritual of planting rice. As an art to preaching trusted Badeng developed since Islam spread in this area around the 16th century or 17. At that time the population Sanding, Arpaen and Nursaen, studied Islamic religion to the kingdom of Demak. After returning from Demak they preach spread the religion of Islam. One of the means of spreading Islam with the arts used was Badeng.
Angklung used as many as nine pieces, which is 2 angklung Roel, 1 angklung intelligence, 4 Angklung Angklung ovarian and father, 2 angklung children; 2 pieces dogdog, 2 fruit fly or gembyung, and 1 kecrek. The text uses the Sundanese language mixed with Arabic. In its development is now also used the Indonesian language. The contents of the text contains Islamic values ​​and good advice, and according to the purposes of the event. In addition to presenting performances of the songs, well presented attraction supernatural powers, such as slicing the body with sharp weapons.
Songs Badeng: Lailahaileloh, Ya'ti, Kasreng, Yautike, Lilimbungan, Solaloh.
Bean
Beans is a performance art that is entertainment, of which there are at Baros (Arjasari, Bandung). At first the beans used at events related to rice farming. But at the present time beans are used as an entertainment art. This is related to the changing view of society that began less heed to the things smelled of old beliefs. In the 1940s can be regarded as the end of the ritual function in respect of rice beans, because since then beans turned into a show of entertainment. In line with that of rice storage places too (leuit; barn) began to disappear from people's homes, places replaced with a more practical bag, and easy to carry everywhere. Rice even now many are directly sold, not stored in the barn. Thus art beans that had been used for events ngunjal (carrying rice) is not needed anymore.
The name of art relating to a text string beans famous song among the people, namely cis nyengcle beans ... and so on. The text included in arts beans, so the art is called beans.
The instruments used in the arts is 2 angklung ovarian beans, 2 angklung ambrug, angklung panempas, 2 angklung pancer, 1 angklung enclok. Then the 3 pieces dogdog, consisting of 1 talingtit, panembal, and badublag. In its development, then added with tarompet, kecrek, and goong. Angklung beans barreled salendro with song vocals can barreled madenda or gamelan. Beans Songs include: Badud, Beans, Renggong, Senggot, Jalantir, Jangjalik, Ela-ell, Mega Beureum. Now the songs beans have used also the songs of the gamelan, with the singer who was the man angklung players, now by a special lady to sing.
Of the several types of bamboo to music in West Java (Angklung) above, are some examples of the performing arts angklung, which consists of: Angklung Beans (Priangan / Bandung), Angklung Badud (East Priangan / Ciamis), Angklung Bungko (Indramayu) Angklung gubrag (Bogor), Angklung Ciusul (Banten), Angklung Dog dog Lojor (Sukabumi), Angklung Badeng (Malangbong, Garut), and Angklung Angklung Padaeng which is identical to the National with diatonic scales, developed since 1938. Angklung is derived from typical Indonesian Sundanese angklung development. Angklung Sunda who pitched five (salendro or pelog) by Daeng Sutigna aka The Etjle (1908-1984) changed his tone became Western scales (solmisasi) so that it can play a variety of other songs. Investment results and then taught to school students and played a big orchestra.

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