Principles of Sundanese vocal technique, Cianjuran

Music Education Study Program, Faculty of Arts and Design Education, Universitas Pendidikan Indonesia, Bandung, Indonesia

^* Corresponding author: uuskarwati@upi.edu

Abstract

The background of this research is that there is a distinctive sound in the rendition of Tembang Sunda Cianjuran (TSC) songs, especially wanda papantunan which is different from other wanda, as well as different from the rendition of other traditional vocal genres in West Java. Several elements influence the difference, including based on elements of vocal technique, and the implementation of ornamentation (Sunda = dongkari) which in principle needs to be formulated. This research method uses a qualitative paradigm with a descriptive approach, trying to analyze, classify, and describe the principles of vocal performance or wanda papantunan songs. The sample analyzed is the papatet song which is always the basis at the beginning of TSC learning. The results of this study are: the principle of vocal performance of wanda papantunan in TSC is based on: 1) sensitivity to tuning, 2) mastering song melodies, 3) mastering 17 types of ornaments (dongkari), 4) based on vocal techniques: posture is relaxed and flexible; registers are concentrated in the chest, middle and head; generally low notes are produced in the chest register, medium and high notes are assisted by the middle and head registers; the sensation of voice placement is at the back of the nape, the impression of sound color or timbre is dark and heavy; voice balance is regulated based on the position of the base of the throat which is more open and nassal; balance of inhaling and releasing breath, power is concentrated in the chest and abdomen for the production of “bedas” and soft sounds. Vocal expression is more focused on the formation of vocal style and ornamentation (dongkari). Dongkari tends to be arranged in several tones and some are formed in 1 or 2 tones only.