<![CDATA[This study aims to understand the garap of the suling in tembang Sunda Cianjuran tradition by analyzing its performance in ensemble settings both with and without vocal accompaniment. Employing a qualitative methodology, this research utilizes Supanggah’s (2017) theory of garap, specifically the concepts of sarana garap and piranti garap as an analytical framework to identify the techniques and concepts underlying suling performance. The study reveals that the garap of the suling in tembang Sunda Cianjuran is fundamentally rooted in its role as the pamurba lagu (melody carrier), which, in practice, entails the automatic duplication of the melodic line typically sung by the vocalist. However, the approach to this function varies depending on whether the ensemble performance includes vocals. In performances involving vocals, the suling employs the méréan, marengan, and nungtungan (2M1N) concepts, whereas in purely instrumental ensemble settings, the suling constructs its melody by drawing upon the melodic patterns of the kacapi indung and the landangan. Consequently, this study contributes to a deeper understanding of the aesthetics of tembang Sunda Cianjuran, particularly regarding the aesthetic dimensions of suling performance. ]]>
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