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Earthsongs Cikala Le Pong Pong - Stevens - SSAA
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Composer: Ken Stevens
Editor: Toh Ban Sheng
Language: Pakpaknese (Indonesia)
Voicing: SSAA a cappella
Cikala le Pong Pong is a Pakpaknese folksong from North Sumatra, Indonesia. Today, this song is more commonly performed at wedding celebrations, and opening ceremony and cultural events in the region. It is often accompanied by tradition dancing.
The text of the song describe "elders" (parents) advising their daughters to behave well and act lady-like, since girls today appear more aggressive than boys. The exception to this is the line Kade mo lemlem pagemu Pucuk bincoli mo kabir-kabiren, which has no meaning and was written to rhyme with the proceeding line of text.
By incorporating percussive effects such as foot stomping, clapping, snapping, and utilizing extreme vocal ranges through glissandi, the arranger has recreated the energetic, fun, and light-hearted atmosphere inherent in the song.
Singers are encouraged to use open-throat chest voice--especially in the low and mid registers--to capture the colour of a vibrant tribal folk sound. The distinct change of vocal colour and rhythmic rigour in this work promises sustained interest for young singers and promises to serve as an energetic addition to any performance program.
A performance of this piece by the Crescent Girls' Choir and conducted by Toh Ban Sheng can be viewed at https://www.youtube.com/watch?v=Q_ZZyi7QnzY.
Editor: Toh Ban Sheng
Language: Pakpaknese (Indonesia)
Voicing: SSAA a cappella
Cikala le Pong Pong is a Pakpaknese folksong from North Sumatra, Indonesia. Today, this song is more commonly performed at wedding celebrations, and opening ceremony and cultural events in the region. It is often accompanied by tradition dancing.
The text of the song describe "elders" (parents) advising their daughters to behave well and act lady-like, since girls today appear more aggressive than boys. The exception to this is the line Kade mo lemlem pagemu Pucuk bincoli mo kabir-kabiren, which has no meaning and was written to rhyme with the proceeding line of text.
By incorporating percussive effects such as foot stomping, clapping, snapping, and utilizing extreme vocal ranges through glissandi, the arranger has recreated the energetic, fun, and light-hearted atmosphere inherent in the song.
Singers are encouraged to use open-throat chest voice--especially in the low and mid registers--to capture the colour of a vibrant tribal folk sound. The distinct change of vocal colour and rhythmic rigour in this work promises sustained interest for young singers and promises to serve as an energetic addition to any performance program.
A performance of this piece by the Crescent Girls' Choir and conducted by Toh Ban Sheng can be viewed at https://www.youtube.com/watch?v=Q_ZZyi7QnzY.
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