The Inheritance of Values in Sundanese Song of Cianjuran in West Java

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Harmonia: Journal of Arts Research and Education 17 (2) (2017), 120-128 p-ISSN 2541-1683|e-ISSN 2541-2426 Available online at http://journal.unnes.ac.id/nju/index.php/harmonia DOI: 10.15294/harmonia.v17i2.8645

The inheritance of values in Sundanese song of Cianjuran in West Java

Julia, Tedi Supriyadi

Faculty of Education Science, Universitas Pendidikan Indonesia, Indonesia

Received: January 29, 2017. Revised: August 3, 2017. Accepted: December 18, 2017

Abstract

This article examines the issue of inheritance that occurs in the Sundanese Song of Cianjuran. During this time, the inheritance is dominated by the transfer of skills only, while the transfer of value tends to be ignored. Consequently, the public cannot grasp the value of what is important to Sundanese Song of Cianjuran, so that over time the Sundanese Song of Cianjuran being aban- doned. Through research conducted by observation into the studio and the training venues of Sundanese Song of Cianjuran, and interviews with the artists of Sundanese Song of Cianjuran, the study results showed two things. First, the Sundanese Song of Cianjuran contains the value both in lyrics and music accompaniment, in the lyrics have meaning is quite diverse, whereas the musical accompaniment contains any value in the form of symbolic treatment. Second, the process of inheritance value, on the one hand, occurs at certain times through a casual chat after training Sundanese Song of Cianjuran finished, and on the other hand, the value of inheritance is one drawback in the regeneration of Sundanese Song of Cianjuran, because teachers tend to pass on the skills aspect alone

Keywords: inheritance value; the transmission of traditional arts; Sundanese Song of Cianjuran

How to Cite: Julia & Supriyadi, T. (2017). The inheritance of values in Sundanese song of Cianjuran in West Java. Harmonia: Journal of Arts Research And Education, 17(2), 120-128. doi:http://dx.doi.org/10.15294/harmonia.v17i2.8645

INTRODUCTION characteristics that differ the art from other types of local arts from other regions (Su- This study attempts to study the harto, 2016). Sundanese traditional song, Cianjuran. Sundanese Song of Cianjuran con- Cianjuran as a type of Sundanese tradi- sists of two elements, vocal and pirigan. tional song itself can be seen and studied Vocal is human sound in the form of ryth- from various different perspectives, ho- mical tone and pirigan is the music accom- wever, the researcher here is more focus paniment. This music accompaniment it to study the song’s inheritance system of self specifically uses several music instru- values in its society. The Sundanese song ments, such as: kacapi indung, kacapi rincik, of Cianjuran is a kind of traditional art ori- suling, and rebab. Furthermore, Sundanese ginated from West Java which is inherited song of Cianjuran is classified into classic from generation to generation as any other Sundanese art. The ‘classic’ character of typical traditional arts from other regions. Sundanese song of Cianjuran can be seen A previous research studying about local from its traditional form which reflects arts believe that every local art has its own Sundanese traditional music that exist in

 Corresponding author: Jl. Mayor Abdurachman No. 211 Sumedang Jawa Barat 45323 E-mail: [email protected]

120 Julia, Tedi Supriyadi, The inheritance of values in Sundanese song of Cianjuran ... 121 the past, which is more special compared (technique) and the richness of the beat to other Sundanese sounds (Wiradired- pattern of kacapi indung. ja, 2012). The uniqueness of Sundanese Sundanese song of Cianjuran is pas- song of Cianjuran also can be seen from its sed down from generation to generation performance and aesthetic aspects ref- through traditional oral ways. Julia (2008) lected in both the song lyric and the music indicates that the art transmission in the ka- accompaniment (pirigan). As a traditional capi indung instrument of Sundanese song art which was born in royal environment, of Cianjuran in the informal education en- Sundanese song of Cianjuran has its own vironment is done through traditional oral aesthetics of performance, as its way to method by means of pencatrikan or lear- perform in sitting position, communicati- ning from a certain ‘Guru’. While Balasub- on in nonverbal form when the performan- ramanian (2010) research results show that ce is being held by using musical signs, the learning of Sundanese song is done and the musical interaction between the through traditional oral culture, and it re- performers and audiences which has deep quires close relationship with the teacher, appreciation from both sides. One of the and active participation in various contex- senior singer of Sundanese song of Cianju- ts and relevant activities is required. ran, Rina Oesman (Ziyan, 2016), said that This way, all forms of ethics and ae- Sundanese Song of Cianjuran is usually sthetics can be protected and preserved, performed for pasamoan (banquet/recepti- even showing the development as well as on). It is not supposed to be performed in the change over time, since the result of in- music concert or show which is full of au- heritance is often not showed in the form diences’ or crowd’s noise. This art is con- of repetition or is not exactly the same as siderably unique. People are not allowed the generation that inherits it (Rochmat, to talk during the song performance and 2013) . For example, the aesthetics of the are asked to deeply internalize the songs song prove that after Sundanese song of into their hearts. Therefore, when there is Cianjuran spread out from the area of ori- a mamaos or Cianjuran song show, peop- gin of Cianjur regency to Bandung, the le are not allowed to enter and leave the Sundanese song of Cianjuran has increa- room freely. singly showed the variants in the orna- Aesthetics that becomes the special mentation of the song, as a result of the de- identity of Sundanese song of Cianjuran, velopment of artists singing the Sundanese the aesthetics of song and its instruments, song of Cianjuran from Bandung, such as are represented through techniques, varia- the work of the late Euis Komariah. Diffe- tions, and the ways to perform it to the au- rences can also be found in the way kacapi diences. According to Hermawan (2014), indung instrument is played. Wayang pa- the song is also having some elements that nambih (extra song) which was originally become the standard in scoring the beauty performed in the rhythm of basajan (usual/ (aesthetic value) from the song, one from slow), now turned to be faster in the musi- many and become the most important cal beat, after receiving a touch of the Sun- is song’s accessory or ornament that was danese pattern, which are kawih sunda and shaped from dongkari chain. Elis Roslia- kendang Sunda through the creative hands ni (Herdini, 2002) translated dongkari as of artists of kacapi indung Ruk -ruk Ruk- song ornament which is simple and con- mana, now referred as a ‘ropel’ beat (Julia, tained in every type of Sundanese sound. 2011). In other words, all the changes and It means that the combination or series of developments that occur in the Sundanese dongkari-dongkari has formed a unity called song of Cianjuran played a role in exten- ornamentation. While in its instrument, for ding the age or existence of the arts. example in kacapi indung as the main ac- The success of inheritance of Sun- companist, the esthetic value is determin- danese song of Cianjuran which is general- ed among others by the quality of the play ly done through informal education, turn 122 Harmonia: Journal of Arts Research and Education 17 (2) (2017): 120-128 out to be more dominated on the level of ran through observation and interviews inheritance alone, while the inheritance of of Sundanese song of Cianjuran’s artists. the value contained in the Cianjuran song The assessment focuses on the following is still relatively forgotten. Worsen fact two things: 1) what values are contained shows that even at this time, the skill in- in the Sundanese song of Cianjuran, and heritance is also decreased. It is proven by 2) how the process of inheritance value in the decreasing numbers of paguron or stu- Sundanese song of Cianjuran works. In the dio of Sundanese song of Cianjuran which end, it is hoped that this study may result actively provides Sundanese song of Cian- in a clear picture about the actual condi- juran training. In 2016, according to Heri tion of the form of inheritance of value of Wijaya (Ziyan, 2016), the number of parti- Cianjuran Sundanese song. cipants are varied from 70-80 to 100 people. These days, numbers of people signed METHODS up for learning the song is no more than 50 people. Men dominate the numbers. The Approaches implemented in this stu- chairman of Pancaniti Cianjur, D. Andri dy are karawitanologi and socio-culture. Ka- Kertanegara, delivered his dissapointment rawitanologi is to talk about the song while to see participants which is continued to social culture is to discuss the values and decline in number every year. Not to men- patterns of inheritance. The research itself tion the quality is also decreased (Heriy- was conducted in two districts in West anto, 2016). However, better inheritance Java, i.e. the art Pakuwon art studio in Su- system is seen in Sumedang District. It is medang regency, and paguron Elis Roslia- resulted from the role of stakeholders who ni in Bandung regency. Both places were willingly provide facilities and sacrificing chosen since the place is quite well-known material (money) for the sake of inheritan- in the inheritance of Sundanese song of ce of Sundanese song of Cianjuran (Julia, Cianjuran till today. Through the activity 2016). of Sundanese song of Cianjuran inheritan- The decrease in quantity of ce that is held in those two places, the rese- enthusiast’s number of Sundanese Cianju- archers had dug the data about the process ran song could happen because Sundanese of the inheritance that is specifically rela- people themselves are not able to capture ted to the values contained in Sundanese and understand the values contained in song of Cianjuran’s lyrics and musics, both the art, therefore, they do not consider the through the behaviour and communicati- importance of Sundanese song of Cianju- on patterns that occur among teachers and ran. Furthermore, people have no desire students. to learn the art of Sundanese song of Cian- The data collection was done by ex- juran because they do not see values that ploring the data through direct observa- can be applied or brought into their actual tion. Here the researchers are involved in lives. While the tendency of people them- the study as participant which commonly selves are to learn new knowledge pr skill seen as participation observation. In this which is valuable, useful, and practical for participation, the researcher stands as their lifes both for having a good living or one of music player, playing kacapi indung merely for pleasure. Raditya (Tyasrinestu, instrument in regular exercise activity. In 2014) underlines this by claiming that the addition, researchers also collect the data existence of a song should have a functi- through interviews and documentation on and use in society; and music should be studies. Interviews were conducted by re- used as a medium in conveying messages searchers by interviewing all individuals of the lyrics. who directly involved in routine training Based on the above phenomenon, the activities. The content of the interview is researcher attempts to examine inheritan- related to the views of the players towards ce of value in Sundanese song of Cianju- the value contained in Sundanese song of Julia, Tedi Supriyadi, The inheritance of values in Sundanese song of Cianjuran ... 123

Cianjuran and the pattern of inheritance meanings are included (Wiradiredja et al., values that exist in the supporting com- 2001). Even, it can be said that the lyrics are munity. Documentation study conducted mostly figurative and had hidden value. It by exploring documents in the form of re- implicitly gives the idea that the creators of cording activities and record of Sundanese the lyrics of Sundanese song of Cianjuran song of Cianjuran and the writings related has quite a variety of literary skills. to the Sundanese song of Cianjuran texts According to Wiradiredja et al., that are exist and used. (2001), the Sundanese song of Cianjuran Furthermore, the data analysis contains certain values, such as historical, technique is done through data collection love of God, love of nature, and messages process, data reduction, data presentation, related to religious and customary educa- and conclusion or verification. The data ob- tion (moral, ethical, norm and law). Whi- tained through the data collection process le Wiratmadja (1996) writes that the lyrics is then analyzed using qualitative research of Sunda Cianjuran song from 404 songs analysis techniques by Miles and Huber- based on the percentage are as follows: ka- man (Rohidi, 2007) by data reduction, data endahan alam (natural beauty) 17%, ka-Sun- display, and conclusions or verification. da-an (Sundanesse) 6%, pepeling (advice) In the process of analyzing this data, the 9%, kabirahian (desire) 52%, 3% karumasaan content of the song is being listed and the (acceptance), sajarah (history) 9%, basa Jawa process of inheritance value in Sundanese (Javanesse language) 3%, sanesna (others) song of Cianjuran that has been obtained 1%. This number can be increased by the during the study process are being inter- existence of new songs composed recen- preted and discussed using some relevant ty which has not been registered yet. As theories. written by Julia (2008), in 2008 alone, there are 700 songs which belongs to Sundanese RESULTS AND DISCUSSIONS song of Cianjuran. Most of the songs, however, contain love message or relation- Content Value in Sundanese song of Cian- ships between people of different gender. juran In other words, if the lyrics of Sunda Cian- The value and meaning in the Sun- juran wants to be used as character buil- danese song of Cianjuran can be seen from der, then obviously, not all lyrics are sui- various perspectives (Wiradiredja et al., table to build people characters, especially 2001) since value is derived from the re- in the context of character education and sults of educational message contained in culture for school-aged children. teaching and learning (Wadiyo, 2015). In Through the musical aspect of Sun- this study, the Sundanese song of Cianju- danese song of Cianjuran, in kecapi indung, ran was seen through two aspects, from especially, the values can be expressed the lyric’s meaning and Sundanese’s piri- among others through the attitude of kaca- gan aspects. Specifically, the lyrical aspects pi indung’s old players. Various treatments are divided into two kinds, one is easily to given to kacapi indung by the music player be understood while another one is hard to have symbolic meanings that cannot be be understood. separated from moral values in everyday In other words, lyrics are easy to be life. For example, the attitude to treat or understood when the diction used by the consider kacapi indung as his own wife, creator is not metaphorical or explicitly ex- they play it gently and cover it with a cloth plained. It is considerably difficult to un- when it is not in use. It is not merely to derstand meaning when the words used create the concentration of the player or to are full of figurative meaning since the deeply engage in the play of the luminan- meaning is implicitly said. Due to this fact, ce of the indung, creating a smooth sound, only literary circle may serve this. For the or keeping the dust from the music equip- Sundanese song of Cianjuran here, both ment. Further, the behavior shows the con- 124 Harmonia: Journal of Arts Research and Education 17 (2) (2017): 120-128 cept, that: ways respects kacapi indung, basically is a First, ‘learning the ethics through ka- way to respect the God through its crea- capi’. The aim of treating the kacapi politely, tion. according to one of the interviewee, is to In Sundanese culture, this attitude know how far our ability in playing the ka- is not only happened around Sundanese capi as an ethic by considering the artistic song of Cianjuran, the same attitude is also ethic. Here, the meaning reflects that the found in some other arts. For instance, Ta- way the artist treats the music instrument rawangsa arts in Rancakalong district, Su- may make him to get used to act politely medang regency. Some groups, especially and ethical, not only on stage but also in the old generation, treated Tarawangsa ni- real life. It is believed that if an artist could cely, even in the beginning of learning Ta- treat his music instrument politely, then rawangsa. They cannot play it carelessly, they he will live well and polite, too. As a but there must be a line of ancestry, or at small example is respecting kacapi indung least family from karuhun. Therefore, some during a performance, by not storing asht- people think that Tatawangsa players are rays or cigarettes over the kacapi. It can be atheist since they give huge respect to- an ethical habituation for the artist in their wards the instruments. One of the Tara- daily life. wangsa players, during the interview, said Second, ‘doing small things before that the behavior is a ‘mupusti´ behavior the big things’. Treating kacapi indung po- not ‘migusti’, that has aim to maintain tho- litely, carefully, and keeping them clean, is se arts and not to treat the tool as the God. not a big deal because it involves the indi- Another example is the Goong Ren- vidual relationship of an indistinguishable teng music instrument treatment in Situ- player with his own kacapi indung. If the raja district, Sumedang regency. Based on attitude of caring for and maintaining the the interview during the study, it is rea- kacapi indung that in fact is easier, cannot vealed that in Situraja, the Goong Renteng be done by the player, then how can he do music instrument has turned into a broken things bigger and more difficult than that? instrument that cannot produce sound. It That is why, for the player, the habit of ca- even has cracked. However, people still ring and maintaining kacapi indung may be respect the instrument by holding a cere- a step to do other things, so this attitude mony with flower and incense, bathing can be seen as one of the representations of the instrument every once a year in Mulud the ability to do bigger and more complex month, as well as providing a special room things in everyday life. for the instrument. In other words, the be- Third, ‘from the creator to His crea- havior of treating the instrument special tion’. The attitude of kacapi indung players can be seen as an attitude of respecting the towards the kacapi indung instrument in instrument. showing their big respect to the instrument, basically shows social and spiritual The Inheritance of Sundanese Song of Cian- relation. In this case, respecting kacapi in- juran dung is one way to respect and glorify their The process of inheriting culture God. It means that if kacapi indung players along with the values contained in it, ba- are able to give the big respect to the kecapi sically happened through three aspects, indung, it is expected that he also has great the vertical transmission, horizontal trans- respect towards the man who creates that mission, and oblique transmission (Ca- instrument, and further if kacapi indung valli-Sforza & Feldman, 1981; Berry et al., players are able to give his high respect 2002). The inheritance process of value in towards the other humans, means that he Sundanese song of Cianjuran happened also has high respect towards the human through some conditions, i.e: First, when creator, that is God. Therefore, behind the people are learning Sundanese song of attitude of a kacapi indung player that al- Cianjuran, they would ask the teacher or Julia, Tedi Supriyadi, The inheritance of values in Sundanese song of Cianjuran ... 125 trainer about the song. It may be related here with everyone, even if the students to the phenomena of behavior among the is the member of Pakuwon art studio. It artists of Sundanese song of Cianjuran, or means that even if the learning process is related to the musical and vocal aspects happened informally, but it is not created of Sundanese song of Cianjuran. This mo- feudalism atmosphere as happened in the ment creates a communication between life of the late Sundanese song of Cianju- teacher and student, and in that moment ran artists. the teacher gives advices to the students through a casual conversation after prac- ticing the Sundanese song of Cianjuran. This activity can happen for several hours, even until late at night. The practice of Sundanese song of Cianjuran itself started after Isya or around 19.30 until midnight. The more questions delivered by the students, the longer time will be needed by the trainer to answer the questions. Therefore, one of the trainer during the interview has ever said that the inheritance value usual- Figure 1. Learning Sundanese song of Cian- ly happened after the Sundanese song of juran in Gentra Pakuwon Cianjuran. As what happened in his house, Sumedang art studio the students normally have casul conversation with him about the Cianjuran songs While the inheritance of value in Elis till 2 a.m. in the morning. Rosliani’s paguron, the results of the obser- Second, inheritence process exists vation showed that the teachers can have a when the teacher observes some imprope- conversation that contained advices to the ractivities or attitudes done by the stu- students, especially in the middle of break dents. Example of the improper attitude when the practice is taking place. Among by students is when they sneak and look the advices is to accept the differences of at the teacher while playing the kacapi in- song variation or ornamentation among dung. The teacher then explains the rule of the vocalists of Sundanese song of Cianju- playing the instrument which looking at ran. In other words, Elis Rosliani teaches somebody else’s play is considered rude the students to accept the unity in diversi- and not respectful. ty, because in Sundanese song of Cianjuran Domination and implementation of world, this thing is something that can eli- Sundanese song of Cianjuran inheritance cit conflict, or known by some singers with also has significance differences in every terms “parebut senggol” especially when pa- paguron of Sundanese song of Cianjuran. sanggiri of Sundanese song of Cianjuran is For example, in Pakuwon Sumedang art being held. This thing becomes represen- studio, the inheritance of the value from tation of Elis Rosliani as singer that com- the teacher are not really be shown directly monly invited as judge in many pasanggiri since it is concerned more to the inheritance of Sundanese song or judge in competence of the skills (Figure 1). Meanwhile, in this examination of art schools. It means, as a case, the habituation of the ethics is being judge that gets trust from the societies, of taught directly by the stakeholder or the course this cannot be separated from the owner of Pakuwon art studio, like, giving competence that she has and from her cre- a rule that washing students’ own dishes dibility as a judge who usually provide an and the teacher’s dishes is an obligation, objective assessment which based on pa- introducing transparency in managing the sanggiri rules. Those values then become show by presenting any payment proofs, part of a pasanggiri’s judge of Sundanese allowing the students to perform everyw- 126 Harmonia: Journal of Arts Research and Education 17 (2) (2017): 120-128 song of Cianjuran, and are being inherited can be used as an educational tool. In or- to the students slowly through the routi- der to implement those things to the wider ne practice of Sundanese song of Cianju- society of Sundanese song of Cianjuran, ran (Figure 2). Therefore, Soehardjo (2005) Wiradireja as one of the main committee said that, whatever the system, process of of pasanggiri activity of Sundanese Song of the transmission of art is not simply by Cianjuran (PTSC) Damas 2016, was trying transmitting the art physically, but also by to gathered the lyrics of song that has good transmitting the philosophical values. quality, to be used as song lyrics that must be brought by the participants or patan- dang pasanggiri. The inheritance of the value through this song lyric is claimed by Wiradiredja as an easier way in teaching values in Cianjurang song because the lyrics of the song are more verbal and can be understood directly through the form of words or spoken. Still according to Wiradireja, another important aspect in the context of inheritance of Sundanese song of Cianjuran’s value is how to transfer values that is contained off the lyrics, that is from the musi- Figure 2. Learning about Sundanese song of cal aspect of Sundanese song of Cianjuran. Cianjuran in Elis Rosliani’s Paguron, Bandung This aspect can be validated since not all practitioner of Sundanese song of Cianju- Through the explanation above, in ran, especially the musical players beha- one side, it can be obtained about the desc- ve in accordance with the values of Sun- ription of the process of inheritance values danese song of Cianjuran, or at least based in Sundanese song of Cianjuran which on the characteristics of Sundanese song took place slowly but quite continuous. of Cianjuran that tends to be soft. It me- In other sides, the inheritance of values ans that because of the soft characteristic in Sundanese song of Cianjuran becomes of Sundanese song of Cianjuran, then soft a problem for some figures of Sundanese character can be used as one way to build song of Cianjuran. For instance, one of he the behavior of its own practitioners to be- Cianjuran Song figure Yusuf Wiradiredja have with touches of tenderness, decency, (56 year old), had ever stated that the in- and etc. This condition is called by Herdini heritance value is one of the weaknesses as the internalization of the values of Sun- in the inheritance process of Sundanese danese song of Cianjuran (Personal Com- song of Cianjuran (interview on August 8, munication, February 26, 2016). The inter- 2016). It is illustrated that started from the nalization of value also means integrating early age, the trainer or teacher only teach- values within a person (Fardus, 2010). It es about the song, there are no discussions means that when there is a Sundanese song to express the song, no analysis about the of Cianjuran’s practitioner that does not meaning of the lyrics, and no attempt to behave based on the high values contained connect the lyric with the music. Therefo- in Sundanese song of Cianjuran, then tho- re, Wiradireja as the Cianjuran song figure, se values of Sundanese song of Cianjuran decided to transmit the values contained are not being internalized into the artist. in Sundanese song of Cianjuran by analy- One of the strategy that can be done to zing meaning of the song during the trai- realize the Sundanese song of Cianjuran’s ning. Through this way, Wiradireja found values can be internalized more generally that not all the lyrics of Sundanese song of to the wider society through formal edu- Cianjuran have good values or quality that cation. Wiradireja explained that the trans- Julia, Tedi Supriyadi, The inheritance of values in Sundanese song of Cianjuran ... 127 formation of the values should be done in human beings, the messages relating to re- school environment. Since school is the ligious and customary education (moral, place of the young generation who will ethical, norm, and law), and self-reflection. inherit the culture; and second, structural Meanwhile, through pirigan, it can be iden- approach can be done in school environ- tified that the value is represented through ment. It means that the achievement of symbolic treatment from the players to the value learning can be measured since it is musical instrument that they are played. included in the area of school subject. By These values live mainly on Sundanese all means, the inheritance of Sundanese song of Cianjuran’s in the past or old ge- song of Cianjuran that usually happened neration. Second, process of inheritance in informal education environment which of Sundanese song of Cianjuran has been is dominated with skills inheritance, also identified as two points of view that have needs to be done through formal educa- significance differences. Through the first tion, at least in the local content area. As point of view, it can be concluded that stated by Sedyawati (2007), one of the the inheritance value of Sundanese song channels for inheriting cultural values in of Cianjuran happened in spesific times, a society is through a more or less formal that is in the middle of practice or after the education system, in which there are clear- practice, and can happen until mid-night ly differentiated roles between teacher and through casual conversation. Meanwhile, student. This is in line with Hayati’s point through the second point of view, it can be of view, who stated that school or educa- concluded that the inheritance of value is tional institution is not only as a medium one of the weaknesses in the inheritance to gain the knowledge, but as a medium system of Sundanese song of Cianjuran, to develop the civilization, which has a since the teachers of Sundanese song of function to pass all the potentials to the Cianjuran rarely does the inheritance te- younger generation. Some of the benefits aching related to the values contained by of teaching local culture and arts at school Sundanese song of Cianjuran, since they are: developing the intelligence, training focus more in the inheritance of the skills. the skills, creating a perfect personality, Sundanese song of Cianjuran also has not being sensitive to social life and as a cul- been classified as a learning material in tural transmission, as well as, developing primary level. Therefore, generally, values essential values as the provision of human contained in Sundanese song of Cianjuran life which is to pray to Allah. This strategy has not been conveyed widely yet. can be a way to perfect the inheritance of values through the family environment, REFERENCES because the family environment is the first environment for mankinds, especially the Balasubramanian, A. (2010). Music and artists of Sundanese song of Cianjuran Regional Identity in Indonesia: Tem- to apply the values of Sundanese song of bang Sunda of West Java. Thesis. Fac- Cianjuran. ulty of Emory College of Arts and Sciences of Emory University. CONCLUSION Berry, J. W., Poortinga, Y. H., Segall, M. H., & Dasen, P. R. (1999). Psikologi Lin- Based on the explanation above, two tas Budaya: Riset dan Aplikasi. Jakarta: points can be concluded. First, Sundanese Penerbit Gramedia Pustaka Utama. song of Cianjuran contains varieties of va- Cavalli-Sforza, L. L., & Feldman, M. W. lues. 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