Menir Moyda and His Style of Jenaka Sunda Indra Ridwan .
ndra827@gmail.
Institut Seni dan Budaya Indonesia.
Bandung.
Indonesia Abstract.
Jenaka sunda is a type of Sundanese music, and its emergence was pioneered by a Sundanese musician.
Menir Moyda, around the end of the 1930s.
Menir Moyda created jenaka sunda by remodeling, transforming, and rearranging old Sundanese traditional music into new forms or even creating new songs and musical forms that fit the needs of radio programs and listeners.
The popularity of Menir Moyda and the development of jenaka sunda are closely related to the music programs broadcast on the radio, including the Dutch government radio station (NIROM), the Indonesian government radio station (RRI), and the local private radio station in West Java, namely VORL.
Menir Moyda has inspired many Sundanese musicians who act as preservers and successors of jenaka sunda.
Keywords: Jenaka sunda.
Menir Moyda.
new musical form.
Introduction In the realm of Sundanese music, the name Menir Moyda1 is synonymous with jenaka sunda.
Menir Moyda is regarded as the trailblazer in developing jenaka sunda music.
Menir Moyda and his jenaka sunda gained popularity as jenaka sunda programs were increasingly broadcasted through radio stations such as NIROM 2 (Netherlandsch Indische Radio Omroep Maatschapp.
VORL3 (Vereeniging Oosterse Radio Luisterar.
, and RRI4 (Radio Republik Indonesi.
Menir Moyda's pioneering work earned him recognition and served as a source of inspiration for the practitioners of jenaka sunda, who later followed in his footsteps.
This paper provides a concise account of Menir Moyda's process of conceiving and advancing jenaka sunda.
The data utilized in this study is derived from various sources, including radio magazines such as Soyara NIROM and Berita VORL, which featured radio programs from the mid-1930s to the early 1940s.
Pedoman Radio, a radio program magazine by RRI, was published from 1948 to 1961.
Furthermore, vinyl Menir Moyda was used as a stage name.
his real name was Saim bin Suad .
, better known as Holil.
For citations, words, and sentences garnered from pre-1972 printed sources, the author maintains the old spelling, for example, /u/ was written /oy/, and /j/ was written /dj/.
2 NIROM was the radio network established by the government of the Netherlands in 1934 in Batavia .
ater renamed Jakart.
3 VORL was a private or listener-supported Bandung station established in 1935.
4 RRI is the Indonesian national radio station network, founded on 11 September 1945.
In Bandung, it is known as RRI Bandung.
INCARTURE 2023.
December 05-06.
Bandung.
Indonesia Copyright A 2025 EAI DOI 10.
4108/eai.
5-12-2023.
records containing jenaka sunda recordings released by the recording companies, including Odeon.
Canary.
His Master's Voice.
Irama, and PT Dimita, were distributed from the end of the 1930s to the 1950s.
Jenaka sunda is a type of Sundanese music that emphasizes the singing style of Menir Moyda.
The repertoire of songs is diverse, ranging from traditional Sundanese songs adapted into a new format or form to new songs typical of jenaka sunda.
The songs are accompanied by Sundanese zither called kacapi, played by the singer himself.
In addition to playing the kacapi and singing the song, interactive dialog and witty musical responses are essential to jenaka sunda Therefore, jenaka sunda performances always involve more than one performer, each having a different role.
Menir Moyda and the Jenaka Sunda Program on Radio According to the author's research, the term jenaka sunda was initially introduced during a music program aired by radio NIROM on July 8, 1940.
The presentation showcased Djenaka Soynda, starring Menir Moyda and his kacapi instrument.
The Djenaka Soynda program was aired twice on that date, from 5.
05 pm to 6.
15 pm and then from 6.
45 pm to 7.
30 pm.
The NIROM stations in Jogja.
Surabaya.
Solo, and Semarang relayed that program.
Shortly after that.
VORL adopted and utilized the program name Djenaka Soynda.
Afterward, the Djenaka Soynda program gained significant popularity within the community, particularly in the West Java region.
Individuals are fond of this genre of music due to the novel ideas and musical alterations introduced by its practitioners.
The performance format showcased lively and innovative Sundanese tunes and dynamic presentation styles.
Upon further investigation, it becomes evident that the unique style executed by Menir Moyda was derived and modified from the bobodoran soynda performance, in which Menir Moyda and various other performers, such as Ose Hidayat.
Baim.
Odik.
Euneng (Mang Onjo.
Amud (Ogi.
, yOon, yOpyn Soytardi.
Nji Moyrsih.
Iboyk, and Partasoywanda, played.
Bobodoran Soynda was a radio program packaged in the form of humorous programs.
This program was also known as Bebodoran and Leloytjon Soynda.
In an article entitled "Djenaka Soyda," R.
Darja explains that the humorous aspect of the Bobodoran Soynda program is more accentuated compared to the Djenaka Soynda program .
However, based on the audio recordings in the author's possession, the witty dialog elements in the songs "Bobodoran Tjolynat" (Odeon.
A 278 393.
and "Bobodoran Boyngboylang Adan" (Odeon.
A 278 393.
, performed by Menir and Menir Moyda (Holi.
, do not show the prominence of the humorous aspect as Darja Therefore, the author assumes that Darja's assertions may be factual if we compare the form of performance of Bobodoran Soynda and Djenaka Soynda by attending their live performances or listening to the live radio broadcasts of Lagoy Soynda: Bobodoran Menir, broadcast by VORL and NIROM, rather than based on recordings contained on vinyl records.
Specifically, the duration of the recorded music on the vinyl is minimal.
The duration of live performances of jenaka sunda broadcast on radio stations averages between fifteen and thirty minutes per show.
However, some programs were allocated two hours of non-stop Bobodoran/Leloytjon Soynda performance time.
The jenaka sunda style, created by Menir Moyda, is well renowned.
The producer of the music program dedicated a substantial amount of time to Menir Moyda's broadcast, as stated in Soyara NIROM magazine.
According to the section titled "Jang Penting Minggoy Ini" (AuImportant Information This WeekA.
, the statement is as follows:
AuMenir Moyda, seorang jang taAo asing lagi dengan bobodoran dan leloytjonnya, akan berhadapan dengan microfoon kita, menjadjikan beberapa lagoy djenaka.
Agar memoyaskan.
Menir Moyda kita beri kesempatan bermain doya djam lamanja di depan microfoon kita .
Ay "Menir Moyda, known as bobodoran and leloytjon performances, will be singing some humorous songs in front of our microphone.
To satisfy our listeners, we will allow Menir Moyda to play two hours in front of our microphone.
The purpose of increasing Menir Moeda's broadcast time allocation was to satisfy the listeners of the Djenaka Soynda program.
As a matter of fact, a large audience always attends live performances featuring Menir Moyda.
Like the audience of a wayang golyk5 performance, people flock to the location where Menir Moyda performs to enjoy his performances .
Menir Moyda and His Jenaka Sunda Style Menir Moyda is recognized as a trailblazer in developing jenaka sunda.
Menir Moyda distinctively performs this genre of music, playing the kacapi instrument while accompanying In his article titled "Jenaka Sunda," Sayudi asserts that the innovative approach introduced by Menir Moyda effectively highlighted the distinctive traits of the Sundanese community, renowned for their jovial nature .
Furthermore, the selection of songs performed and how they were sung exhibited a humorous and clever quality.
Similarly, the kacapi playing was agile and captivating.
During the mid-1930s.
Menir embarked on a solo career as a practitioner of bobodoran, after that showcasing his skills in jenaka sunda.
Menir consistently delved into the vocal elements and performance techniques of the Sundanese kacapi.
Menir devised strategies to produce highpitched, piercing voices that surpassed those of the average male singer.
He could even sing intricate, twisting notes with unique vocal embellishments.
Furthermore, she successfully merged falsetto techniques with her natural voice, incorporating the production of both original and falsetto voices as a fundamental aspect of her vocal style .
Menir possesses a method for generating nasal sounds, which is also one of her distinctive vocal attributes.
Menir Moyda's vocal technique, known as "musical humor," involves singing to elicit laughter from the audience.
singing songs.
Menir is more concerned with the fall of the notes of the vocal melody.
Although Wayang golek .
he Sundanese three-dimensional rod-puppet theate.
is a type of West Javanese art that is very popular in the wider community.
Menir sometimes sings cianjuran6 songs that mix sorog7 and salyndro8 scales .
, the way and style of singing these cianjuran songs are considered folk songs that he composed himself.
Menir chose the Sundanese zither as his principal musical instrument.
The technique used to play the kacapi and the patterns and variations of the music are similar to the general technique of playing the Sundanese kacapi.
Those techniques include plucked .
, touched .
, flicked .
, and AudijengkalanAy .
he method of measuring the length of objects using handspan measurement.
In contrast to other kacapi performers.
Menir Moyda demonstrates a dynamic manner when playing his zither, especially during live performances.
Menir demonstrates impressive skill as he skillfully plucks the wire of the kacapi, showcasing various techniques .
In addition.
Menir's performance involves a distinctive style of playing the zither, sometimes resembling a tiger's claw.
This technique is commonly called "The Tiger's Claw" .
Menir occasionally positioned the zither on his shoulders or transported it on his back while performing on the instrument.
The acrobatic element is a prominent feature of Menir Moyda's performances.
Menir's unique singing technique and mastery of the zither garnered significant popularity within the community.
Menir performed songs that in the Sundanese music are called staple songs that already have rules .
9, such as "Panglima," "Banjaran," and "Sinyur.
" However, he changed the technique of playing the zither when accompanying those songs.
For example, stopping the zither in the middle of playing and using the free meter technique .
ree tempo/a temp.
to show his vocal This is one of the reasons why Sundanese music practitioners, especially those who adhere to conventional Sundanese music playing, negatively evaluate Menir's kacapi technique and playing style because they are different from the standard.
But for Menir, the melodies of his songs are not confined by a static tempo.
the tempo and rhythm are not based on a particular beat, so his playing does not reflect the use of tempo rules as in traditional Sundanese music.
The lyrics of Menir Moyda's jenaka sunda songs are not only in Sundanese but are sometimes interspersed with lyrics in Malay and Javanese languages .
This is the case with Menir Moyda's song "Kopi Soysoy," which was recorded on a vinyl record released by the Canary company (HS 46 A6.
The mixed-language lyrical model was followed by other Sundanese musicians, such as "Keliling Dunia I" by Didi Suara (PT Dimita MP-52 10 L .
and "Bobodoran Kadjawan" by yOpyn Soytardi (Odyon A 278261b Jab 2.
It is, therefore, not surprising that jenaka sunda is not only popular among the Sundanese people but is also known and loved by people from other ethnic groups in Indonesia.
Tembang sunda cianjuran, also commonly called cianjuran may briefly be described as sung poetry.
Sorog is a specific Sundanese tuning system or scale.
Salyndro is a specific Sundanese tuning system or scale.
Patokan refers to Authe underlying structure of tones .
atok = stake, pilla.
that establishes the basic tonal framework of many lagu (Sundanese song.
in the gamelan salyndro repertoireAy .
The following are some audio recordings featuring Menir Moyda, released by some major record companies, such as Odeon.
Canary Record.
Irama Record, and His Master's Voice (H.
Table 1.
List of audio recordings of Menir Moyda Player Menir and Holil Menir and Holil Menir Moyda Menir Moyda Menir Moyda Menir Moyda Menir Moyda Menir Moyda Menir Moyda Menir Moyda Menir Moyda Menir Moyda Menir Moyda Menir Moyda Menir Moyda Menir Moyda Menir Moyda Menir Moyda Menir Moyda Menir Moyda Menir Moyda Menir Moyda Menir Moyda Menir Moyda Menir Moyda Menir Moyda Menir Muda Menir Muda Menir Muda Menir Muda Menir Muda Menir Muda Title of Song AuBobodoran TjolynatAy AuBobodoran Boyngboylang AdanAy AuPrataganAy AuYs KrimAy AuRynggong GantjangAy AuRos BoyngboylangAy AuKopi SoysoyAy AuSatriaanAy AuSalah SangkaAy AuPolos Gado-GadoAy AuDasar Milik Noy PahatoyAy AuOjong-Ojong BangkongAy AuBala WiriAy AuPantoynan PadjadjaranAy AuTabloAy AuTitiran Djaman ModernAy AuPagi SoryAy AuPatoyraj TjintaAy AuSynggot ArileuAy AuManggoyt-ManggoytAy AuMalih WarnaAy AuKring TjirebonAy AuTmb .
Hegar ManahAy AuTmb .
Panjanongan-Gado2 SoykamandiAy AuBodoran BangketAy AuExtra WaledAy AuKadjawen Kulu2Ay AuGado2 SuasanaAy AuKota BaruAy AuAjam PadjarAy AuKidungAy AuKembang PrianganAy Record Company Odeon A278393a Odeon A278393b Canary Record HS 29 Canary Record HS 29 Canary Record HS 38 Canary Record HS 38 Canary Record HS 46 Canary Record HS 46 Canary Record HS 86 Canary Record HS 86 Canary Record HS 94 Canary Record HS 94 Canary Record HS 102 Canary Record HS 102 Canary Record HS 119 Canary Record HS 119 Canary Record HS 238 Canary Record HS 238 Canary Record HS 320 Canary Record HS 320 Canary Record HS 343 Canary Record HS 343 His MasterAos Voice NS 331 His MasterAos Voice NS 331 His MasterAos Voice NS 437 His MasterAos Voice NS 437 Irama D.
Irama D.
Irama D.
Irama D.
Irama IRD.
Irama IRD.
The list of songs played by Menir Moyda is very diverse, as shown in table 1 above.
Not only songs recomposed from other genres of Sundanese music, including kliningan,10 and tembang sunda cianjuran.
more than that.
Menir created a variety of new songs, which, of course, were intended to fulfill his desire to express his musical ideas, as well as to fulfill the desires of his listeners and fans.
Ading Affandi .
etter known as RAF), a prominent Sundanese writer, composer, and cultural expert, asserted that Menir Moyda skillfully revolutionized the traditional Sundanese zither playing and singing technique.
The style became a unique identity, known to the people as gaya memeniran .
mitating MenirAos styl.
or njanjian Menir Moydaan .
inging style of Menir Moyd.
, which was typical of Menir's way of singing.
The memeniran style gained immense popularity among the community due to Menir Moyda's continuous performances at many events, including community-organized gatherings and radio programs.
Menir's creative activity has resulted in the establishment of various significant point, specifically .
the formation of Sundanese comedy groups that incorporate Menir's name as the group's title, such as Menir Moyda Poytra.
Menir Tua.
Menir Baroy, and Ogyl Menir.
The recognition of the relationship between Menir Moyda and Sundanese humor, one of which was written in a radio magazine column, "Menir Moyda, known as bobodoran and leloytjon performances.
" .
Four major record companies, namely Odeon.
HMV (His Master's Voic.
Canary Record, and Irama Record, produced and distributed LPs containing recordings of Menir Moyda's music.
The emergence of the names of other Sundanese music groups that carried the music format "a la Menir Muda" .
, both in the way they plucked their Sundanese zither and the vocal ornamentation .
of their singing, even to the production and color of their sound as much as possible imitating Menir Moyda .
, for example the jenaka sunda group namely Kantja Priangan, led by Dasy, and Pusaka Siliwangi, led by Sumadinata.
The jenaka sunda program of Menir Moyda was broadcast or relayed by several radio stations, namely NIROM branches in Jogja.
Surabaya.
Solo, and Semarang, as well as RRI outside the West Java region, namely RRI Palembang station.
RRI Madiun station, and RRI Jakarta station.
The following are some jenaka sunda performers (Menir Moyda and his successor.
and the names of their groups, as follows:
Table 2.
List of the names of jenaka sunda performers and their groups Name of Group Djenaka Soynda Djenaka Soynda Pangloyjoy Ogyl Menir dan Koyja Mang Oesyn Kantja Indihiang Performer Menir Moyda [Holi.
yOpyn Soytardi Menir Moeda Menir Baru alias Mang Oesyn Mang Koko alias Koko Koswara Kliningan is an instrumental gamelan performance or gamelan as accompaniment for a solo female Srimawar Wargi Pangluju Djakad-Pusat Pangledjar Sritunggal Kantja Priangan Menir Tua Pusaka Siliwangi Pusaka Budi Daja Tresna Tunggal Menir Moyda Poytra Ciung Muda Sabri Muda Jenaka Sunda Jenaka Sunda Haleuang Rasa Nata Warna yOpyn Saputra Iin Sutardi Suhara Dasy Sumadinata dari DPBAD Terr.
i Atjih Djukasih Adiwinata Sopandi Spk.
Osy Hidayat alias Mang Onyon Osy Hidayat alias Mang Onyon Sabri Uam Adang Akil Uju alias Mang Utun Conclusion Menir Moyda is an example of a creative artist breaking with old traditions and reimagining the meaning and value of Sundanese music.
The radio program managers accommodated Menir Moeda's musical compositions through new music programs aired by their radio stations.
Through radio programs.
Menir Moyda develops ideas into a new style of Sundanese music, creates innovative genres, tones, and instrumentation, and, in turn, shapes new tastes in modern Sundanese music.
The success of Menir Moyda has inspired other musicians to imitate and develop jenaka sunda.
In short.
Menir Moyda presented a new .
type of Sundanese music.
Menir Moyda is a trendsetter and pioneer who made history through his creations and innovations in creating one of the Sundanese art genres, jenaka sunda.
References