Sunda


KENAPA HARIMAU DISEBUT MAUNG OLEH MASYARAKAT JAWA-BARAT ?

KENAPA HARIMAU DISEBUT MAUNG OLEH MASYARAKAT JAWA-BARAT ?

Where is that, you ask? What?

Daerah Sunda, the extent of the Sundanese ethnic group, corresponds more or less to the province of Jawa Barat, West Java, although you more commonly hear it called Daerah Sunda round here — the Sundanese area.

The Sundanese have their own script, language, politics and history which are entangled with, but distinct from, those of the Javanese, who make up the majority of the population of Jawa Tengah and Jawa Timur, the other major provinces of Java. Don’t be confused — just because someone comes from the island of Java doesn’t mean they are ethnically Javanese. There are Sundanese and other groups besides.

I am no expert in Sunda, but I can tell you a little about Sundanese music and have some technical tips about aksara sunda, and so on because of my 2015 Asialink residency.

I’m kind of fascinated by this area, and I will occasionally link to some useful resources by some real experts. (The real real experts are often writing in Indonesian or Sundanese, mind.)

Underneath the famous Islamic and Hindu elements of religion here is the Sunda Wiwitan faith, although decades of suppression and refusal by the state to count it on the census have made it difficult to know how prevalent this is.

Iket Sunda:

I always forget the name of the local ceremonial blade. It’s kujang or kudi. See, e.g., Kujang.

Pranatamangsa is the name of the local astrological calendar. You can listen to Ruffles’ radio piece about that. See Gigi Priadji and his Trah Dokumenter project, creating wild and wonderful ethnologies of his region.

Arjo, Irawati Durban. 23AD–1989. “Women’s Dance Among the Sundanese of West Java, Indonesia.” Asian Theatre Journal 6 (2): 168. https://doi.org/10.2307/1124458.

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Barendregt, Bart, ed. 2014. Sonic Modernities in the Malay World. Brill. http://booksandjournals.brillonline.com/content/books/9789004261778.

Becker, Judith O. 1980. Traditional Music in Modern Java : Gamelan in a Changing Society. Honolulu : University Press of Hawaii.

———. 1984. Karawitan : Source Readings in Javanese Gamelan and Vocal Music. Vol. 23. Michigan Papers on South and Southeast Asia. Ann Arbor, Mich. : University of Michigan, Center for South and Southeast Asian Studies.

Beng, Tan Sooi. 2014. “Modernizing Songs of the Forest: Indigenous Communities Negotiate Tensions of Change in Malaysia.” In Sonic Modernities in the Malay World, edited by Bart Barendregt, 353–70. Brill. http://booksandjournals.brillonline.com/content/books/b9789004261778s013.

Browne, Susan. 2000. “Gender Implications of Dangdut Kampungan: Indonesian Low-Class Popular Music, The.” Working Papers (Monash University. Centre of Southeast Asian Studies), vi. http://search.informit.com.au/documentSummary;dn=896222579506387;res=IELHSS.

Budi, Dinda Satya Upaja, R. M. Soedarsono, Timbul Haryono, and Tati Narawati. 2014. “Angklung Dogdog Lojor Pada Upacara Seren Taun.” RESITAL : JURNAL SENI PERTUNJUKAN 15 (2): 139–51. http://www.journal.isi.ac.id/index.php/resital/article/view/848.

Cahripin, Cucup. 2010. “Musik Ritual "TARAWANGSA" Di Desa Rancakalong, Kabupaten Sumedang, Jawa Barat.” Kêtêg 8 (1). http://jurnal.isi-ska.ac.id/index.php/keteg/article/view/55.

Cook, Perry R. 1997. “Physically Informed Sonic Modeling (PhISM): Synthesis of Percussive Sounds.” Computer Music Journal 21 (3): 38–49. https://doi.org/10.2307/3681012.

Cook, Simon. 1992. “Guide to Sundanese Music.” Bandung: Simon Cook. http://digitalmusics.dartmouth.edu/~gamelan/library/sunda.pdf.

———. 1993. “Parallel Versions of Tembang Sunda Melodies in Different Tunings.” Oideion: The Performing Arts World-Wide 14: 55.

———. 2001. “The Song Is the Thing: Patokan, Alur Lagu and the Impact of the Female Vocal Soloists on Sundanese Instrumental Music.” Contemporary Theatre Review 11 (1): 67–97. https://doi.org/10.1080/10486800108568611.

David, Bettina. 2014. “Seductive Pleasures, Eluding Subjectivities: Some Thoughts on Dangdut’s Ambiguous Identity.” In Sonic Modernities in the Malay World, edited by Bart Barendregt, 249–68. Brill. http://booksandjournals.brillonline.com/content/books/b9789004261778s009.

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Gramich, Rudolf. 1995. Einführung in Die Mitteljavanische Gamelanmusik : Mit Notenbeispielen. München : Akademischer Verlag.

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Harrell, Max Leigh. 1974. The Music of the Gamelan Degung of West Java. University of California, Los Angeles.

Hellwig, Jean. 1993. “Jaipongan: The Making of a New Tradition.” Performance in Java and Bali: Studies of Narrative, Theatre, Music, and Dance, 47–58.

Hood, Mantle. 1980. The Evolution of Javanese Gamelan. Vols. 62-64. Taschenbücher Zur Musikwissenschaft. Wilhelmshaven : Heinrichshofen.

I Wayan, Suweca, and Santosa Hendra. 1994. “Kendang Sunda.” Mudra (JURNAL SENI BUDAYA) 2: 1–1. http://repo.isi-dps.ac.id/859/.

Kunst, Jaap. 1973. Music in Java : Its History, Its Theory and Its Technique. The Hague : Nijhoff.

Kurniasih, Nuning. n.d. “Knowledge Management of Agricultural Prophecy in the Manuscript of Sundanese Society in Tasikmalaya District of West Java Indonesia.” Accessed February 12, 2019. https://doi.org/10.31219/osf.io/uedxw.

Kuswanto, Heru. 2011. “Comparison Study of Saron Ricik Instruments’ Sound Color (Timbre) on the Gamelans of Nagawilaga and Gunturmadu from.” International Journal of Basic & Applied Sciences, August. http://www.ijens.org/Vol_11_I_04/113604-0909-IJBAS-IJENS.pdf.

Kuswanto, Heru, Sumarna, Agus Purwanto, and Cipto Budy Handoyo. 2012. “Saron Demung Instruments Timbre Spectrum Comparison Study on the Gamelans Sekati from Karaton Ngayogyakarta.” International Journal of Basic & Applied Sciences, February. http://www.ijens.org/Vol_12_I_01/121901-3838-IJBAS-IJENS.pdf.

Lakatos, Stephen. 2000. “A Common Perceptual Space for Harmonic and Percussive Timbres.” Perception & Psychophysics 62 (7): 1426–39. https://doi.org/10.3758/BF03212144.

Lakatos, Stephen, Perry C. Cook, and Gary P. Scavone. 2000. “Selective Attention to the Parameters of a Physically Informed Sonic Model.” The Journal of the Acoustical Society of America 107 (5): L31–L36. https://doi.org/10.1121/1.428896.

Li, Guangming. 2006. “The Effect of Inharmonic and Harmonic Spectra in Javanese Gamelan Tuning (1): A Theory of the Sléndro.” In Proceedings of the 7th WSEAS International Conference on Acoustics & Music: Theory & Applications, 65–71. World Scientific and Engineering Academy and Society (WSEAS). http://www.wseas.us/e-library/conferences/2006cavtat/papers/526-099.pdf.

Lindsay, Jennifer. 1979. Javanese Gamelan : Traditional Orchestra of Indonesia. Kuala Lumpur : Oxford University Press.

Luvaas, Brent. 2009. “Dislocating Sounds: The Deterritorialization of Indonesian Indie Pop.” Cultural Anthropology 24 (2): 246–79. https://doi.org/10.1111/j.1548-1360.2009.01131.x.

———. 2010. “Designer Vandalism: Indonesian Indie Fashion and the Cultural Practice of Cut ’N’ Paste.” Visual Anthropology Review 26 (1): 1–16. https://doi.org/10.1111/j.1548-7458.2010.01043.x.

———. 2013a. “Material Interventions: Indonesian DIY Fashion and the Regime of the Global Brand.” Cultural Anthropology 28 (1): 127–43. https://doi.org/10.1111/j.1548-1360.2012.01177.x.

———. 2006. “Re-Producing Pop the Aesthetics of Ambivalence in a Contemporary Dance Music.” International Journal of Cultural Studies 9 (2): 167–87. https://doi.org/10.1177/1367877906064029.

———. 2013b. “Indonesian Fashion Blogs: On the Promotional Subject of Personal Style.” Fashion Theory: The Journal of Dress, Body & Culture 17 (1): 55–76. https://doi.org/10.2752/175174113X13502904240749.

Lysloff, Rene TA. 1982. The Gong-Chime Bonang Barung in the Central Javanese Gamelan: Aspects of Musical Function and Idiom in Contemporary Practice. American Gamelan Institute. http://digitalmusics.dartmouth.edu/~gamelan/library/lysloff_bonang.pdf.

Manuel, Peter, and Randall Baier. 1986. “Jaipongan: Indigenous Popular Music of West Java.” Asian Music, 91–110. http://www.jstor.org/stable/834160.

Marshall, Wayne. 2014. “Treble Culture.” The Oxford Handbook of Mobile Music Studies 2: 43. http://wayneandwax.com/academic/marshall-treble-culture-proof.pdf.

Martin-Iverson, Sean, U. M. Rodrigues, and B. Smaill. 2008. “‘C’mon Commodify Us!’: Commodity Fetishism and Resistant Practice in the Bandung DIY Hardcore Scene’.” Youth, Media and Culture in the Asia Pacific Region, 177–94.

Merthayasa, I. Gde Nyoman, and Bayu Pratomo. 2008. “The Temporal and Spectral Characteristics of Gamelan Sunda Music.” The Journal of the Acoustical Society of America 123 (5): 3198–8. https://doi.org/10.1121/1.2933344.

Mulyadi, Tubagus. 2013. “Bentuk Pertunjukan Jaipongan Dalam Budaya Populer.” Greget 12 (1). http://jurnal.isi-ska.ac.id/index.php/greget/article/view/631/0.

North, Richard. 1982. “Degung: My Search for the Ancient Gamelan of Sunda.” Unpublished Manuscript.——. 1982b. Letter from R. North to Michael Wright.

Pemberton, John. 1987. “Musical Politics in Central Java (or How Not to Listen to a Javanese Gamelan).” Indonesia, 17–29. http://www.jstor.org/stable/3351219.

Perlman, Marc. 2004. Unplayed Melodies : Javanese Gamelan and the Genesis of Music Theory. Berkeley : University of California Press.

Pickles, Joanna. 2007. “Punk, Pop and Protest: The Birth and Decline of Political Punk in Bandung.” RIMA: Review of Indonesian and Malaysian Affairs 41 (2): 223. http://search.informit.com.au/documentSummary;dn=966938817220535;res=IELHSS.

Pickvance, Richard. 2005. A Gamelan Manual : A Player’s Guide to the Central Javanese Gamelan. London : Jaman Mas Books.

Pioquinto, Ceres. 1968. “Dangdut at Sekaten.” Review of Indonesian and Malaysian Affairs 29 (19945): 59–90. http://training.informit.com.au/APAFT/961000091.pdf.

Prasetyo, Frans Ari, and Sean Martin-Iverson. n.d. “Art, Activism and the ‘Creative Kampung’: A Case Study from Dago Pojok, Bandung, Indonesia.” In.

Rahn, Jay. 1996. “Perceptual Aspects of Tuning in a Balinese Gamelan Angklung for North American Students.” Canadian University Music Review/Revue de Musique Des Universités Canadiennes 16 (2): 1–43. http://www.erudit.org/revue/cumr/1996/v16/n2/1014424ar.html.

Ramlan, Lalan. 2013. “Jaipongan: Genre Tari Generasi Ketiga Dalam Perkembangan Seni Pertunjukan Tari Sunda.” RESITAL : JURNAL SENI PERTUNJUKAN 14 (1). http://www.journal.isi.ac.id/index.php/resital/article/view/394.

Rosidi, Ajip. 1973. “My Experiences in Recording "Pantun Sunda".” Indonesia 16 (October): 105. https://doi.org/10.2307/3350648.

Schiemer, Gregory, Bill Alves, Stephen James Taylor, and Mark Havryliv. 2003. “Pocket Gamelan: Developing the Instrumentarium for an Extended Harmonic Universe.” http://ro.uow.edu.au/creartspapers/397/.

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———. 2007. Rhythm and Transforms. Berlin ; London: Springer.

———. 1998a. Tuning, Timbre, Spectrum, Scale. Springer London. http://link.springer.com/chapter/10.1007/978-1-4471-4177-8_4.

———. 1998b. “Consonance-Based Spectral Mappings.” Computer Music Journal 22 (1): 56. https://doi.org/10.2307/3681045.

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———. 2008. Focus : Gamelan Music of Indonesia. Focus on World Music. New York : Routledge.

———. 2010. Erotic Triangles: Sundanese Dance and Masculinity in West Java. Chicago: University of Chicago Press. http://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&db=nlabk&AN=332204.

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———. 2013. Javanese Gamelan and the West. Eastman/Rochester Studies in Ethnomusicology. Rochester, N.Y. : University of Rochester Press.

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———. 2014. “Notes on Dangdut Music, Popular Nationalism, and Indonesian Islam.” In Sonic Modernities in the Malay World, edited by Bart Barendregt, 269–89. Brill. http://booksandjournals.brillonline.com/content/books/b9789004261778s010.

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