Mudra: Jurnal Seni Budaya Volume 40 Number 3, 2025 e-ISSN 2541-0407 p-ISSN 0854-3641 https://jurnal.
isi-dps.
id/index.
php/mudra Defining Vocal Aesthetic Parameters in Tembang Sunda Cianjuran:
A Case Study of the PTSC DAMAS Competition Arif Budiman1.
Nanang Jaenudin2* Department of Karawitan.
Faculty of Performing Arts.
Indonesian Institute of Arts and Culture Bandung Article Info Received on 3 February 2025 Revised on 19 March 2025 Accepted on 13 June 2025 Keywords Music Assessment.
Parameter Aesthetic.
PTSC DAMAS.
Tembang Sunda Cianjuran.
Traditional Singing.
Competition DOI:
https://doi.
org/10.
31091/mudra A2025.
The Author.
Published by Pusat Penerbitan LP2MPP Institut Seni Indonesia Denpasar.
This is an open-access article under the CC-BY4.
0 license.
Abstract This study develops a conceptual framework to define a distinguished panembang .
in Tembang Sunda Cianjuran based on a case study of the PTSC DAMAS Employing a qualitative research design, the study integrates triangulation methods data, techniques, and sources to enhance validity.
Data were obtained through in-depth interviews with 12 key informants .
ncluding judges, panembang, and cultural expert.
, field observations, and document analysis.
The analytical framework is based on A.
Djelantik's aesthetic theory and uses Miles and Huberman's interactive model for data The study identifies five core parameters: Bener .
Merenah .
Genah .
Alus .
rtistic refinemen.
, and Mulus .
lawless integratio.
, each with context-specific These findings offer a culturally grounded yet performance quality in traditional Sundanese vocal arts.
The proposed parameters offer a foundational step toward developing a more objective, transparent, and accountable judging system.
INTRODUCTION
Around the world, singing competitions are increasingly recognized not only as platforms for showcasing vocal talent but also as cultural arenas that shape artistic identity and public appreciation .
, .
, .
From global spectacles like the Eurovision Song Contest in Europe and American Idol in the United States to culturally embedded events such as the Enka Singing Contest in Japan and the Carnatic Music Competitions in India, these platforms have served as springboards for career formation and social recognition .
, .
, .
, .
, .
While many modern competitions have adopted standardized evaluative criteria, numerous traditional arts contests across Asia, including in Indonesia, continue to grapple with a critical problem: the absence of clearly articulated aesthetic parameters that can be applied fairly and consistently.
*Correspondence author.
Contact.
: nanangjaenudin.
isbi@gmail.
Budiman.
Jaenudin One of the traditional art forms most affected by this issue is Tembang Sunda Cianjuran.
This classical vocal-instrumental genre emerged in Cianjur.
West Java, and developed in the Priangan region during the 19th century .
This art form is characterized by a lyrical synergy between vocal performance and accompaniment by indigenous instruments such as the kacapi indung, kacapi rincik, suling, and rebab .
Among these components, the vocal element occupies a central position, functioning as the primary medium for aesthetic expression and emotional communication.
The success of a Tembang Sunda Cianjuran performance largely depends on the competence of the panembang .
, who is expected not only to master technical aspects but also to embody interpretive sensitivity and expressive depth.
In this context, the Pasanggiri Tembang Sunda Cianjuran (PTSC), organized by Daya Mahasiswa Sunda (DAMAS) since 1962, has served as the most prestigious competitive arena for panembang .
Held biennially or triennially.
PTSC DAMAS functions not only as a forum for artistic regeneration, but also as a benchmark for excellence and symbolic supremacy within the Cianjuran tradition.
According to Enip Sukanda, a prominent figure in the genre.
PTSC DAMAS is the AumasterpieceAy of all pasanggiri events.
Although similar contests are hosted by other institutions such as RRI.
KORPRI, and PINDAD.
PTSC DAMAS continues to command unrivaled influence .
Its winners are often invited to perform at high-profile events and are widely recognized as exemplary vocalists.
However, despite its status and significance.
PTSC DAMAS has been increasingly marred by controversiesAiparticularly concerning dissatisfaction with jury decisions, which are frequently criticized for being subjective and opaque.
Beneath its credibility and contributions to cultural preservation.
PTSC DAMAS faces a fundamental evaluative flaw: the absence of formally defined, measurable, and academically accountable aesthetic parameters for vocal performance in Tembang Sunda Cianjuran.
Judging decisions continue to rely heavily on individual taste and lack a shared conceptual framework that can ensure objectivity.
This absence of systematic evaluation has weakened the legitimacy of competition outcomes, sparked conflict among participants, and contributed to a significant decline in participation over the past decade .
6Ae2.
In the context of traditional vocal arts, where "beauty" is often associated with rasa .
eeling or affec.
, evaluative systems based solely on personal preferences risk undermining artistic standards and perpetuating aesthetic ambiguity .
, .
Previous studies have examined Tembang Sunda Cianjuran from various disciplinary Van Zanten explored its anthropological dimensions .
, .
Williams investigated its role within urban communities .
Hermawan focused on gender aspects .
Rosliani analyzed ornamental formulas .
and Wiradiredja and Sukanda et al.
among others, documented its historical development .
, .
However, to date, no research has explicitly defined the vocal aesthetic parameters necessary for a fair and systematic assessment in competitive contexts.
This gap is especially critical given the shifting function of pasanggiri competitions from mere contests into arenas that shape cultural values, artistic identity, and panembang professionalism.
Sean Williams' seminal study further reinforces the urgency of this issue.
Competition in Sundanese Performing Arts in West Java.
Indonesia, which documents prevalent conflicts of interest such as former champions serving as judges for their students and external interventions by patrons or parents that influence adjudication outcomes .
In the absence of well-defined aesthetic standards, such contests become vulnerable to This highlights the need for a context-sensitive, methodologically sound, and culturally anchored framework for evaluating panembang excellence.
Defining Vocal Aesthetic Parameters in Tembang Sunda Cianjuran This study addresses that void by formulating a set of vocal aesthetic parameters that are contextually grounded, empirically observable, and rooted in Sundanese cultural values.
Drawing on A.
Djelantik's aesthetic theory, which emphasizes three core dimensions:
appearance, content/substance, and performance, this research proposes five evaluative parameters that encapsulate the principles of Sundanese vocal artistry: Bener .
Merenah .
Genah .
Alus .
rtistic refinemen.
, and Mulus .
lawless integratio.
Beyond offering a conceptual contribution to the discourse on traditional vocal aesthetics, this framework provides actionable insights for panembang to enhance their competence while also presenting the potential for broader applicability across Indonesia's diverse vocal traditions.
METHODS
This study employs a qualitative research design grounded in exploratory and descriptive inquiry to examine the nuanced aesthetic dimensions of vocal performance in Tembang Sunda Cianjuran, with a particular focus on the PTSC DAMAS .
The central aim is to investigate how the notion of a "distinguished panembang" is constructed, assessed, and experienced within a performative and competitive framework.
A qualitative approach is adopted to explore the contextual and experiential nature of vocal This design enables an in-depth examination of local aesthetic values and subjective judgments that define artistic excellence in traditional music practices.
The study follows a case study approach, focusing on the PTSC DAMAS competition as a critical site for analysis .
PTSC DAMAS was selected due to its historical prestige and cultural legitimacy as a key arena for evaluating panembang excellence in Tembang Sunda Cianjuran.
The case study enables a focused investigation into the implicit and often unstandardized evaluative practices used by judges and practitioners.
Data collection employed three complementary techniques: participant observation of the competition and performances.
in-depth interviews with key 12 informants representing four primary stakeholder groups: senior and award-winning young panembang, judges from various editions of the PTSC DAMAS competition, academics and practitioners with published work or teaching experience in Tembang Sunda Cianjuran, cultural community leaders involved in mentoring and training emerging panembang.
document analysis including judging rubrics, score sheets, audiovisual recordings, and PTSC DAMAS archives.
A total of 12 key informants participated in the study: Yus Wiradiredja.
Dian Hendrayana.
Rina Sarinah.
Ubun Kubarsah.
Neneng Dinar.
Hery Suheryanto.
Deni Hermawan.
Rina Oesman.
Ida Widawati.
Ajat Sudrajat.
Elis Rosliani, and Rosyanti.
This diverse group ensured a comprehensive and balanced representation of viewpoints, ranging from technical expertise to critical reflections on judging practices.
Data were analyzed using the interactive model by Miles and Huberman, which consists of three core components: data reduction, data display, and conclusion drawing/verification .
Data reduction involved selecting and condensing key information relevant to the study's focus on vocal aesthetic parameters.
Data display was carried out through thematic matrices and narrative patterns, allowing the researcher to identify relationships and emerging categories.
Conclusions were drawn inductively, referencing both Djelantik's aesthetic framework and culturally embedded values specific to Tembang Sunda Cianjuran.
To ensure the credibility and reliability of the findings, the study employed source Interviews with panembang, judges, scholars, and community mentors were cross-verified with performance observations and supporting documents.
This triangulation A.
Budiman.
Jaenudin method ensured that conclusions were grounded in empirical evidence and represented diverse yet converging perspectives on aesthetic practices in PTSC DAMAS.
The primary analytical tool is A.
Djelantik's aesthetic framework, which comprises three core dimensions: Appearance.
Content/substance, and Performance.
Figure 1.
Adapting DjelantikAos Aesthetic Concepts to Local Sundanese Karawitan Principles (Vocal Elements in Tembang Sunda Cianjura.
[Illustration: Arif Budiman, 2.
Within this adaptation, the appearance dimension incorporates Bener .
echnical accurac.
and Merenah .
tylistic proportionalit.
, providing an objective basis for performance The Content/substance dimension captures Genah .
and Alus .
rtistic refinemen.
, which represent the abstract, interpretative qualities of the performance.
Finally, the Performance dimension is epitomized by Mulus, reflecting the flawless synthesis of all elements to create a cohesive aesthetic experience.
This integrated framework not only facilitates an objective assessment of vocal performance through its measurable components but also honors the cultural complexity of Tembang Sunda Cianjuran by incorporating the nuanced, emotional, and interpretative dimensions of the art form.
Such an approach provides a systematic and comprehensive basis for evaluating the excellence of panembang in the PTSC DAMAS competition.
RESULTS AND DISCUSSION
Defining Vocal Aesthetic Parameters of Panembang Unggul: A Case Study of the PTSC DAMAS Competition This section provides an in-depth analysis of the concept of a distinguished panembang in Tembang Sunda Cianjuran based on a case study of the PTSC DAMAS competition.
Although PTSC DAMAS has been held since 1962 and is widely regarded as the primary benchmark of panembang excellence, its evaluation system continues to rely on a ranking-based approach Defining Vocal Aesthetic Parameters in Tembang Sunda Cianjuran rather than a measurable scoring rubric.
In practice, each judge is typically asked to select the top five performers from the pool of contestants.
Final results are determined by the frequency of rankings across judges.
For instance, if three out of five judges place contestant number one in fifth place, that contestant may be declared the winnerAieven if the remaining two judges rank other participants higher.
This mechanism reflects the absence of clear and objective evaluation parameters, opening the door to subjective bias .
, .
, .
Although PTSC DAMAS has adopted basic evaluative categories such as sora .
ocal productio.
, technique, wirahma .
hythmic sensibilit.
, and expression, in reality, the absence of precise, well-defined, and measurable criteria makes the classification of winners highly challengingAiparticularly in contexts of close competition.
In some cases, even when scoring categories are formally used, it remains challenging to substantiate or validate score differences, such as contestant no.
1 receiving sora: 90, technique: 80, and expression: 70, while contestant no.
2 receives sora: 100, technique: 90, and expression:
Without methodologically justifiable indicators, such judgments lack transparency and Figure 2.
Evaluation criteria format for the quality of panembang at PTSC DAMAS XXI in 2016 [Source: Daya Mahasiswa Sunda, 2.
In response to this issue, the present study proposes a set of vocal aesthetic parameters that are contextually grounded, methodologically measurable, and rooted in Sundanese cultural values.
It introduces five core parameters recognized by the local artistic community as benchmarks of panembang excellence: Bener .
Merenah .
Genah .
Alus .
rtistic refinemen.
, and Mulus .
lawless These parameters were derived through in-depth interviews, performance observations, and literature review, and collectively reflect how the Sundanese musical community conceptualizes and evaluates aesthetic quality within the Tembang Sunda Cianjuran tradition.
Budiman.
Jaenudin Figure 3.
The aesthetic components that shape the concept of a distinguished panembang [Illustration: Arif Budiman, 2.
The following discussion systematically examines each of these parameters, along with their contextual and practice-based indicators.
Indicator of Bener Concept The concept of bener in Tembang Sunda Cianjuran refers to precision in adhering to established aesthetic conventions and performance norms.
More than merely meaning "correct," bener signifies a faithful commitment to the structural, tonal, and technical demands inherent in the genre .
Its indicators include mastery of leunjeuran lagu .
omplete memorization of the song's structure without deviations or mixing with other piece.
, control over vocal qualityAidefined as not hollow, but instead round, clear, articulate, and full-bodiedAiand sensitivity to pitch accuracy, or titincakan sora, in order to avoid singing out of tune.
Additionally, a panembang must demonstrate the ability to reach both low and high notes accurately.
The performer is also expected to possess technical proficiency in vocal techniques distinctive to the Cianjuran style, such as producing a controlled vocal tone .
ot ngagywo.
, achieved through a centered and contained vocal approach .
ityngkyp or dipygy.
, along with the precise and expressive execution of vocal ornamentation .
in line with established aesthetic expectations .
, .
Figure 4.
Winners of the 2019 PTSC DAMAS Competition.
Held in Cianjur Regency and Attended by Participants from Across West Java.
Exemplify High Vocal Standarts in the Bener Aspects [Source: Ajinumoto, 2.
Defining Vocal Aesthetic Parameters in Tembang Sunda Cianjuran Within the competitive framework of PTSC DAMAS, such elements are crucial, especially given the subjective nature of aesthetic judgment.
Without measurable parameters like bener, judges may differ in interpretation, leading to inconsistent evaluations and dissatisfaction among contestants.
Thus, bener serves as a fundamental criterion that reflects not only technical precision but also the vocalistAos legitimacy within Sundanese vocal aesthetics.
Indicator of Merenah Concept The merenah concept emphasizes a vocalist's ability to render musical elements proportionally and contextuallyAiparticularly in terms of vocal dynamics, ornamentation, and emotional expression according to the character of each wanda .
ong typ.
Each wanda possesses distinct melodic structures and aesthetic qualities, and a panembang must align vocal delivery accordingly .
A misaligned performance style, such as using the papantunan technique in a dedegungan pieceAiis a clear sign of aesthetic inaccuracy and indicates a lack of interpretive maturity.
Figure 5.
Gilang Angga Finalist from Garut.
West Java.
Winner of the Wanda Dedegungan Category in PTSC DAMAS 2016 and 2019.
Exemplifies the Concept of Merenah Through Expressive Precision Aligned with Wanda Character [Source: Daya Mahasiswa Sunda Archive, 2.
Equally essential is the concept of rasa, or emotional depth, which forms the expressive core of merenah.
Although intangible, rasa is perceived through cultivated musical intuition and deep interpretive experience .
A panembang must not only perform beautifully but must do so in alignment with the character and essence of each song.
Thus, merenah serves as a critical measure of artistic sensitivity and culturally grounded musical excellence.
Indicator of Genah Concept The concept of genah refers to a vocal quality that is pleasing, harmonious, and emotionally It represents the culmination of both bener .
and merenah .
, realized through the seamless integration of melody, accompaniment, rhythm, and expressive nuance.
In the vocal aesthetics of Tembang Sunda Cianjuran, genah serves as a vital indicator of a panembangAos ability to interpret the song holisticallyAinot merely adhering to established conventions but evoking an immersive auditory experience.
Budiman.
Jaenudin This requires a high level of wirahma .
usical sensitivit.
, enabling all vocal elements to coalesce into a coherent and moving performance.
Figure 6.
Judges Evaluating Participant Performances During the 2023 PTSC DAMAS Competition.
The Genah ParameterAiRepresenting Musical Harmony and Auditory PleasantnessAiis a Key Indicator in Assessing the Vocal Quality of a Panembang [Source: Daya Mahasiswa Sunda Archive, 2.
However, the pursuit of genah often provokes controversy, particularly when performers introduce new interpretations or ornamentation that diverge from traditional expectations.
Cases involving prominent panembang such as Neneng Dinar (Winner of PTSC DAMAS in 1990 and 1.
and Rina Sarinah, illustrate that while such innovations remain within the aesthetic boundaries of Cianjuran, resistance from judges or audiences may result in unfavorable evaluations.
Thus, genah entails more than the pleasantness of tone.
demands a comprehensive aesthetic understanding of regional styles, versional plurality, and ornamentation principles.
Its implementation requires both panembang and adjudicators to exercise artistic sensitivity and possess broad aesthetic literacy.
Indicator of Alus Concept In the vocal aesthetics of Tembang Sunda Cianjuran, the concept of alus signifies an advanced stage of artistic mastery, characterized by the seamless integration of bener .
, merenah .
, and genah .
A panembang who reaches this level displays not only technical perfection but also expressive maturity and interpretive depth.
The alus quality is marked by vocal fluidity, emotional dynamism, and a resonant sense of gregetAithe compelling force that captivates audiences.
Thus, alus transcends mere vocal clarity.
it emerges from the performer's refined artistic sensibility and profound engagement with the emotional and aesthetic substance of the song.
A core indicator of alus lies in the ability to execute senggolAithe distinctive vocal ornamentation reflecting individual and regional stylistic identity.
Mastery of senggol requires comprehension of both musical factors .
ong structure, tuning, vocal technique.
and non-musical dimensions such as mood, aesthetic taste, and psychological presence during performance.
Alus is not a product of rote memorization, but rather of cultivated interpretation and responsive improvisation.
While alus reflects a near-perfect rendition, it does not equate to mulus, the flawless state, if any technical lapses remain.
Hence, achieving alus is an essential milestone for any panembang aspiring toward artistic excellence and complete vocal presentation.
Defining Vocal Aesthetic Parameters in Tembang Sunda Cianjuran Figure 7.
Renowned Maestros and Former PTSC DAMAS ChampionsAiYus Wiradiredja.
Ida Widawati.
Rosyanti.
Neneng Fitri, and Imas PermasAiare Celebrated for their Distinctive Senggol Styles that Influence Younger Panembang.
[Source: Pikiran Rakyat, accessed 2.
Indicator of Mulus Concept In the aesthetic framework of Tembang Sunda Cianjuran, the concept of mulus represents the apex of vocal mastery, a performance that approaches perfection in its fluency, cohesiveness, and expressive power .
A panembang who attains mulus demonstrates a seamless integration of the four preceding aesthetic dimensions .
ener, merenah, genah, and alu.
into a unified, emotionally resonant musical delivery.
At this stage, the singer transcends memorization, performing with spontaneity and interpretive depth, transforming technical skill into a compelling expressive force.
What distinguishes mulus is the presence of radiant expressivityAithe panembang's ability to actualize the soul of the song and emotionally engage the audience through total musical embodiment.
Given its aspirational nature, mulus is rarely achieved with consistency.
even minor lapses, such as forgotten lyrics or missed entries, can detract from the overall impression.
However, such errors are often tolerable if they do not compromise the song's structural integrity or aesthetic identity.
Thus, mulus is not merely about technical precision, but about delivering a musically holistic experience that elicits profound emotional responses from listenersAi what Sundanese audiences describe as muriding .
or muringkak .
motional Ultimately, mastery of mulus serves as the defining criterion for a distinguished panembang and is pivotal in adjudicating excellence within prestigious competitions like PTSC DAMAS.
The following table summarizes the five core aesthetic parameters previously discussed as a foundation for evaluating panembang quality in the PTSC DAMAS competition.
This synthesis integrates technical, expressive, and cultural dimensions into a coherent evaluative framework.
Budiman.
Jaenudin Table 1.
Defining Vocal Aesthetic Parameters in Sundanese Traditional Music: Insights into Vocal Excellence from PTSC DAMAS Competition [Source: .
Parameter Evaluation Focus Key Indicators Aesthetic Objective Bener Technical accuracy and vocal norms Full memorization of song structure .
, stable and clear voice quality, accurate titincakan sora .
, vocal techniques aligned with Cianjuran style .
ora tembang-vocal productio.
, range control, and mastery of cianjuran ornamentation .
Ensures conformity with tradition and establishes the foundation of Merenah Proportional placement of vocal elements and expression Stable vocal dynamics, accurate placement of pedotan .
and ornamentation, expressive delivery aligned with the character of each wanda .
ong typ.
Realizes expressive and balance in Genah Musical harmony and Harmonious handling of melody, rhythm, and wirahma .
usical sensitivit.
unobtrusive delivery Creates an resonant and Alus Emotional depth and aesthetic vocal Flawless technique, creativity in senggol .
tylistic inflection.
, strong expression, confident Produces a captivating and Mulus (Flawless Holistic perfection in Seamless integration of all aspects, no major errors, consistent and expressive delivery, coherence across the Achieves a total that moves the soul and leaves a (Accurac.
(Proportiona.
(Melodiousnes.
(Artistic Refine.
Integratio.
CONCLUSION This study presents a significant breakthrough in developing culturally grounded aesthetic parameters for traditional vocal performance, particularly within the Tembang Sunda Cianjuran tradition.
Drawing upon A.
Djelantik's aesthetic framework and recontextualizing it through Sundanese cultural logic, this research articulates five key parameters of vocal excellence: bener .
, merenah .
, genah .
armonious deliver.
, alus .
rtistic refinemen.
, and mulus .
lawless integratio.
These Defining Vocal Aesthetic Parameters in Tembang Sunda Cianjuran parameters were derived through a triangulated methodology, combining field observation, in-depth interviews, and literature review.
The primary contribution of this study lies in its departure from conventional, often subjective assessment practices, offering instead a conceptual framework that is both systematic and deeply rooted in local aesthetic sensibilities.
While not prescribing a fixed scoring rubric, this framework lays a theoretical and practical foundation for developing a more equitable, transparent, and musically sensitive evaluative modelAione that acknowledges nuance, context, and emotional resonance beyond the reach of rigid This research does not claim to be exhaustive.
instead, it proposes a conceptual map that invites further development.
Future research is encouraged to build upon these findings by creating a weighted scoring rubric based on validated vocal parameters.
Such efforts would enhance the accountability and professionalism of traditional music competitions while safeguarding the subtleties of local artistry.
Beyond its local context, this research contributes to global conversations on the preservation and revitalization of intangible cultural heritage.
In an era marked by the commercialization and homogenization of art, culturally embedded and critically reflective approaches such as this are vital to sustaining the relevance, dignity, and continuity of traditional performance practices.
While centered on PTSC DAMAS, the implications of this study extend far beyond, offering a replicable model for assessing traditional vocal excellence in other cultural contexts.
Ultimately, this research bridges the gap between traditional artistic intuition and modern evaluative expectations, proposing a visionary framework for preserving artistic excellence while ensuring fairness and cultural integrity in the adjudication process.
REFERENCES