172 Sundanese Traditional Tone Sensitivity-Based Audiation Model of Salendro Musical Scale Diah Latifah Faculty of Arts Education and Design, Universitas Pendidikan Indonesia, Jalan Setiabudhi No. 229, Isola, Sukasari, Bandung, Jawa Barat 40154 E-mail: diahlatifah@upi.edu Received: October 1, 2016. Revised: December 4, 2016. Accepted: December 11, 2016 Abstract This study is aiming at finding out the audiation model of salendro musical scale and teaching it to the non-Sundanese learners. Treatment done to the learners whose hearing sensitivity has not been familiar with salendro tone during the audiation practice. A method implemented in the study was grounded theory. It was used to explore initial audiation theory from Edwin E. Gordon in Syntax Learning Sequence in Music that was adjusted with learning stages of salendro tone. This study resulted in an audiation model of salendro tone to sharpen hearing sensitivity of non-Sundanese learners who had not been familiar with salendro tone. Keywords: audiation learning stage; salendro learning stage; salendro model learning stage; salendro tone mastery How to Cite: Latifah, D. (2016). Sundanese Traditional Tone Sensitivity-Based Audiation Model of Salendro Musical Scale. Harmonia: Journal of Arts Research and Education, 16(2), 172-181. doi:http://dx.doi.org/10.15294/harmonia.v16i2.7542 HARMONIA : Journal of Arts Research and Education 16 (2) (2016), 172-181 Available online at http://journal.unnes.ac.id/nju/index.php/harmonia DOI: 10.15294/harmonia.v16i2.7542 p-ISSN 2541-1683 e-ISSN 2541-2426 is believed that the learning sequences of audiation have a power to familiarize the sensitivity of their hearing with salendro tone, since audiation is defined as dictiona- ry of words that creates sentences of mu- sic, chord, modulation, and various events in grammatical music, which is conducted through the sequences of learning syntax learning sequence. Gordon (2011, p. 10) in Latifah et al (2016, p. 10) reveals “Mind is basic dictionary of hearing in language, that creates words to explain dictionary of hearing which is audiation, the listening skill, interpret the music, when the sound is not physically heard or unreal “. Edwin E Gordon’s Audiation Grand Theory is one of the sequences of learning patterns which is used to imply the lan- guage of sound in this case the tone or in western tradition music, called the tona- lity. Woodford (1996) states “There can be INTRODUCTION The learners were equipped with audiation of salendro tone since we found that some non-Sundanese or Javanese, and Balinese students have not known salendro tone and never listened to it. Six students or learners whom we equipped with salendro tone were from Papua, Nusa Tenggara, Maluku, South Sumatra and also North Sumatra. This problem was handled by providing a sense or feeling of salendro through the learning sequences based on the sensitivity of tone or one of Sundanese tone languages. Those who have never lis- tened to the salendro tone had difficulty in following the learning process of under- standing tone since the sensitivity of their hearing is unfamiliar with the sound of salendro tone. Why learning sequence skill of audiation activities was carried out? It Diah Latifah, Sundanese Traditional Tone Sensitivity-Based Audiation Model of Salendro... 173 no denying that Edwin E. Gordon has made important contributions to the field of music education in the areas of music aptitude tes- ting and music learning theory”. From this point of view, Gordon’s theory contributes significantly to the field of music educati- on in the areas of musical aptitude testing and music learning theory. Audiation is one grand theory dealing with implying, strengthening, familiarizing language of sounds, which are tonal sense, sense of rhythmic or rhyme, rhythm and its pat- tern, sense of melody, through processing of musical sense, perception of music ac- tivities called audiation. The audition was conducted through the sequences of lear- ning with the Sequence Tonal Learning headline. Woodford (1996) restates “Gordon’s music learning theory is premised on a number of assumptions about the nature of musical learning, the first being that musical thinking and learning depend on the ability to “au- diate” or image, tonal and rhythmic pat- terns internally. From the opinion above, it is stated that Gordon’s music learning theory is based on arguments in the nature of mu- sical learning, and the initial that musi- cal thinking and learning depend on the internal skill to audiate or image, tonal and rhythmic patterns. This explanation clarifies that audiation is like science that constructs patterns of musical language from musical letters or tones that will form rhythmic or tonal grammatical music. Furthermore, Gordon (1980) in Latifah et al (2016, p. 10) tells Audiation of the basic ele- ments of music precedes, though it is further developed in conjunction with, the descriptive and interpretive explanations of the basic mu- sic elements, which means Audiation of the primary matters of music preludes, despite of collaboration of the descriptive and interpre- tive clarifications of the basic music matters. Audiation activities according to Gordon written in the dissertation of Christian (2011) (in Latifah et al (2016, p. 11) says, there are several kinds of audition activi- ties, such as: • We audiate when we listen to music for syntax or its rhythmic patterns • We audiate when we read notation and listen to what we read, with or without making a sound of music • We audiate when we write music from dictation • We audiate when we recall music from past • We audiate when we write music from what we recall • We audiate when we improvise ab- ruptly • And we audiate when we write music we have created or improvised Salendro tone teaching was conducted from the initial process of implying Sun- danese traditional aesthetics based salendro tone. The teaching model of Sundanese traditional aesthetic based salendro tone will be assessed in accordance with the audiation theories which are the learning sequences of familiarizing sense of tone, rhythm and other basic musical elements that form music in line with its style. Au- dition as the sequences of learning process has tonal learning sequence or named by the inventor as learning sequences in mu- sic, and this learning sequence is broken down into a skill learning sequence with orders as follows: Gordon (1980) in Latifah et al (2016, p. 14). Aural and oral are the most basic activities which are familiarizing sense of tone through hearing sensitivity and also applied to singing activity. In oral and au- ral activities, there are sequences of gene- ralization and creativity/improvisation. Generalization sequence is where the lear- ners of tone and rhythmic sensitivity learn the fundamentals of music about tone, in this case Western tonal law, in which once the tone is recognized, it is voiced. Next, creativity and improvisation which are creative processes of improvising by sin- ging without verbal association. Verbal association is an activity in which someone learns to name a tone, ma- jor, minor, from tones or series of tones, for example, in the range of tonality of C major there are vocabulary such as C, D, HARMONIA : Journal of Arts Research and Education 16 (2) (2016): 172-181174 E, F, G, A, B, C, or we may use other voca- bulary in fixing terms such as, Do, Re, Mi, Fa, So, La, to do, or even with numbers like 1, 2, 3, 4, 5, 6, 7,... and so on. In addition to tone vocabulary, there are chords like major, minor, diminish and augmented. In terms of keys to determine where the tone should be written in staves we know the G, F, C keys, etc. Table 1. Syntax Learning Sequence for Audiation AURAL/ ORAL GENERALIZATION Aural/Oral CREATIVITY/IMPRO- VISATION Aural/Oral (without verbal association) VERBAL AS- SOCIATION GENERALIZATION Verbal CREATIVITY/IMPRO- VISATION Aural/Oral THEORITICAL UN- DERSTANDING Aural/Oral-Verbal PARTIAL SYNTHESIS SYMBOLIC ASSOCIA- TION Reading-Writ- ing GENERALIZATION Symbolic CREATIVITY/IMPRO- VISATION Symbolic COMPOSYTE SYNTHESIS Reading-Writ- ing GENERAL- IZATION Aural/Oral- Verbal-Sym- bolic CREATIVITY/ IMPROVISA- TION Aural/Oral- Symbolic THEORITI- CAL UNDER- STANDING Aural/Oral- Verbal-Sym- bolic In the rhythmic field, we know, dup- let, triplet, quarter note, whole note, half note, sixteenth note, thirty-second note and so on. It is necessary for learners to learn the verbal association to recogni- ze tone, its form and the name of what is written or drawn. In verbal association activity, there are three stages of learning, that is Generalization-Verbal, Creativity/ Improvisation-Aural/Oral,Theoretical Understanding-Aural/Oral-Verbal. In this learning stage, we implemented only no. 1 activity because the audiation of salendro tone we provided was the most basic one. We, as the researchers have not equipped the learners with the creativity and theo- retical understanding stages since the lear- ners whom we taught are beginners who have just known salendro tone. It has been recognized that the pro- cess of learning audiation based on Sun- danese tone sensitivity has distinctive learning sequences, in accordance with the introduction of tone tradition applied. Also, there were some differences detected in introducing Sundanese salendro tone compared to Western tonal learning se- quences. The learning sequence based on a sense of Sundanese tone was studied as au- diation process, to equip non-Sundanese learners with salendro tone sensitivity. According to Yunus and Subadio (1985, p. 89) in Latifah et al (2016, p. 15-16), Laras or tone is stated as “Another mea- ning of laras is “tuning system”, In Java- nese gamelan, we have two kinds of main laras, the Pelog and Slendro laras”. Laras in the context of Javanese traditional music according to Widodo (2015) is (1) laras as the scale designation of sléndro dan pélog; (2) laras refers to tones in sléndro and pélog; (3) laras in nglaras gamelan, the laras manufacture or repair in gamelan; (42) laras in leres, Diah Latifah, Sundanese Traditional Tone Sensitivity-Based Audiation Model of Salendro... 175 rempeg, and laras as the parameter to measure the sense quality of karawitan which is developed in garap and gen- ding performance In this study, the term laras or the tone used was taken from points 9 and 10 in which it states that laras is the direction and goal of pelog and salendro scales and tuning system in salendro and pelog. Accor- ding to Jaap Kunst (1973, p. 15) in Latifah et al (2016, p 16), “According to Javanese tradition, Salendro is much more ancient than pelog, it was presented to humanity .......”. The magnitude frequency between intervals according to Becker, Judith (as stated by Latifah (2016, p. 16) are exposed as follows: Slendro Pitch Level 1 2 3 5 6 i (upper octave) Interval between Pitch Level 220 280 236 242 248 The tuning system presented abo- ve is not tight pitch standardization, but Judith Becker, as an ethnomusicologist, found this series of intervals when measu- ring the tunings of salendro tone gamelan in Central Java. The name of tones in the Sundanese tuning system has its own term, which was created by Raden Machyar Angga Kusumadinata. Van Zanten (2014) in Lati- fah (2016, p 16) expresses “Kusumadinata supplied two identical relative notational systems for Sundanese music in West Java: the da-mi-na-ti-la system and the cipher system (1, 2, 3 , 4, 5) in the which da = 1, mi = 2, na = 3, n = 4 and la = 5 “, which means Kusumadinata proposed two identical no- tation systems in Sundanese music in West Java: Da Mi Na Ti La system and encoding system, where Da = 1, Mi =, Na = 3, Ti = 4, La = 5. Further, Van Zanten (2014) in Latifah et al (2016) restates: These relative notation systems of Kusumadinata are still widely used in schools today. That state- ment means that Kusumadinata’s relative notation systems are still applied widely in schools nowadays. There were six non-ethnic learners or students whom Kusumadinata gave two relative notation systems which were iden- tical to Sundanese music in West Java, Da Mi Na system and encoding system, where Da = 1, Mi = 2, Na = 3, Ti = 4, La = 5. We found the non-Sundanese lear- ners from SBMPTN 2016, in the Depart- ment of Art Education Music FPSD UPI Bandung. They have not known salendro tone and they are unfamiliar with it. This fact required special handling to imply the ability of salendro tone. It is expected that the power of audiation ability concept applied in salendro tone learning process based on Sundanese laras sensitivity, will strengthen the ability to sense salendro tone for non-Sundanese ethnic learners. The purpose of the study is to scan the limitations and strengths of salendro tone audiation based on Sundanese la- ras sensitivity, to strengthen the sense of salendro tone. METHOD The method of study used to inves- tigate and test the salendro tone audiation was Grounded Theory, comprehending theory of audiation and its strengths to imply the sense of salendro tone for the lear- ners who had not known, understood, and listened to salendro tone sense. Research Design offered to assess the strengths of salendro tone audiation is as Figure 1. The expected result of study is salendro tone audiation model which has been assessed through comprehending theory and evaluation of salendro tone au- dition learning sequence based on Sun- danese tradition. Respondents were six non-Sun- danese learners or students who have ne- ver known and listened to salendro tone. RESULT AND DISCUSSION Research results about students’ dif- ficulty in adjusting hearing sensitivity to salendro tone were collected from inter- views done to six non-Sundanese ethnic HARMONIA : Journal of Arts Research and Education 16 (2) (2016): 172-181176 was done by Suwardi Kusmawardi, as a Sundanese’ traditional art practicioner, started with singing the tone up and down with the notation of Da, Mi, Na (up and down note interval, Da, Mi, Na, Ti, La, Da) and introducing Kempyung. The first intro- duction was started by singing the tone Da (first tone) and down to the tone Ti (The third tone). From this move, the student was then guided to sing other tones both up and down. After that, the interval was applied as a benchmark to find other tones in Salendro musical scale, to move for- ward, move up, or move down. All activi- ties at initial learning meetings were done by doing ngabeo or imitating what were sounded or sung (demonstrated) by the lecturers. After the students understood the up and down interval of salendro, they were given simple model of kakawihan barudak song entitled orai-oraian, and its notation. In this stage, students are asked to sing the tone in an interval way. The interval of the tone is simply without long interval hops. It is used to get students’ hearing to be fa- miliar with the Salendro’s note on Da, Mi, Na notation. Although in this stage, the instructor was available to give examples to the students, however, students were only obliged to sing the note’s notation. This means, the students imitated the no- tation sung by the instructors. Another reason of teaching orai-oraian song was be- cause the song intervals were not lifted too students who were currently studying ba- sic Sundanese musical scale. The results are, as follows: Interview on 13 June 2016 revealed that students were generally not fami- liar with the Salendro musical scale. The students’ hearing sensitivity experienced difficulty in interpreting Salendro tone. They try to reach the tone by western to- nal, one that they had mastered. Generally, students found difficulties in interpreting the first tone which was Da as the tone center, the was western tonal. Students experienced that the initial tone reference in Salendro note was unclear, compared to the western tonal. In western tonal, the initial note was in the first one that made it easier to learn. The ranks of Salendro tone were named by: DA-MI-NA-TI-LA- DA. Almost all non-Sundanese learners argued that they found difficulties in lear- ning Salendro tone since it was unifamiliar to them. Another finding proved that apart from non-Sundanese students, students originated from Sundanese ethnic also found it difficult to learn the Salendro tone as they rarely listened to it. Comparison between the Learning Stage Conception of Salendro Tone and Se- quenced-Western Tonal Tone The Learning Stages of Salendro Tone (Salendro Tone Audiation) The stage of Salendro Tone learning Figure 1. The Research Design Diah Latifah, Sundanese Traditional Tone Sensitivity-Based Audiation Model of Salendro... 177 far, but was only move some steps. The next acitivity was to feel the salendro tone. By using question and ans- wer activity, students were asked whether there were differences between Salendro’s tone with others, for instance, by compa- ring the tone with pelog. After students were able to express the sounds and interval differences of both pelog and salendro tone, lecturers delivered the learning materials. According to this, it was told that what made salendro and pelog different were, first, the difference in frequency. The different high and low frequency caused the high and low tone in salendro and pelog. Another difference lied on the interval. In salendro, the interval bet- ween tones was same. This similar inter- val caused difficulty in singing the note for one who never did it before. Activity following the previous one was song material delivery entitled “Jalan- Jalan”, this song was given under certain considerations. Among the considerations were rise and down interval with lifting movement and gending pattern. The pre- sence of kenongan and goonan on gending pattern were as the rhythm functionary, and closure of a song. Here, students were asked to feel kenongan as the rhythm refe- rence. After ”Jalan-Jalan” song was able to be sung in salendro tone by students with proper tone, the song material delivery was continued with the song “Niron Ten- tara”. The difficulty level of the song was considerably higher for salendro beginner learner because of the interval. The interval was one gambyang or one octave in western musical scale, however the musical scale area of tone was five tones. By giving the students this song, it was hoped that stu- dents would have certain auditive experi- ence in every tone lift. Three songs were given to give opportunities to students to feel the salendro tone. The reason of why the simple and short songs were given, was because the instructors wanted the song to be used as the basis to determine salendro tone by using hearing sensitivity. The Stage of Western Tonal Learning Ac- cording to Gordon Audiation Concept In audiation learning stage entitled Learning Syntax Taxonomi Of Tonal Pat- terns, the tone is started with interval lift on Major tonal, with interval Tonika to the Dominant and Sub Dominant, then it is continued with Modulatory, Chromatis, and Cadential. The tone is continued with Minor tonal, with Tonika interval to the Dominant, and Sub Dominant, then Mo- dulatory, Chromatis, and Cadential. Example in Figure 2 shows one of learning stage in the Gordon audiation in Major tonal, from Tonika to the Dominant. It shows varied interval movement that is started with rise and falling kwint interval, then is continued with rising and falling terts. The strengthening of tonal feeling in Gordon’s learning stage entitled taxonomy of tonal patterns gives one a hearing sensiti- vity by singing various interval written in Figure 2. Figure 2. The Salendro Tone Learning Process in Sundanese Song Learning Learning Results of Non-Sundanese Eth- nic Students After the Salendro Tone leraning, the non-Sundanese ethnic students generally are able to sing simple Salendro songs and read Salendro tone range in one same gem- byang area. The differences between western to- nal and salendro tone in general are desc- ribed in this section. In Gordon stages, Learning Syntax Taxonomy of Tonal Patterns, the stage was started with an interval lift in Major tonal, with Tonika interval to the Dominant and Sub Dominant, then conti- HARMONIA : Journal of Arts Research and Education 16 (2) (2016): 172-181178 nued to Modulatory, Chromatis, and Ca- dential. Everything is then continued until Minor tonal, with Tonika interval, to the Dominant, and Sub Dominant, and then to the Modulatory, Chromatis, and Cadential. The tonal gives the feeling to the tone cent- ralization, started with the first tone with the system of fix do, with the musical scale ranging from Do (I), Re (II), Mi (III), Fa (IV), So (V), La (VI), Ti (VII), Do (I). The feeling of Tonika is started with the first tone or the first accord that gives the hearing im- pression of a song to be back to the initial position (when there is the sentation of the song to end). The dominant feeling is a fee- ling that pushes one to feel the sensation of completion or closure, it is represented by the fifth tone, or the fifth accord. This Sub Dominant feeling is a relation that gives the sensation of tension or moving to the Dominant accord. Sub Dominant is rep- resented by the fourth tone or the fourth accord. This feeling, actually, has started to root to the six non-Sundanese ethnic learners. Therefore, they need to have the sensitive hearing system to get their per- ception familiar with salendro tone. In Salendro learning stages, the lear- ning step is started with listening and sin- ging while reading the basic level of the salendro musical scale. It is then continued with listening to the kempyung Da to Ti, down to other tones in Salendro musical scale by stepping up and down, and lift up and down. The activity is then continued with practicing to sing and read the advan- ced kempyung circle in a circular movement. In the stage of salendro tone strengthening of pure Salendro tone, the instructors used the Salendro etude as the teaching material to strengthen the students’ ability in hea- ring and reading Salendro musical scale Figure 3. Content Learning Sequence Gordon Audiation Diah Latifah, Sundanese Traditional Tone Sensitivity-Based Audiation Model of Salendro... 179 and tone. In this stage, there is a condition where the students might be able to adjust their hearing sytems to the Salendro tone that is continued with mastering kempyung circular movement. In this stage, the hea- ring sensitivity of the students is improved with kempyung used as the tone reference, but not as the central of tonal like one in Western tonal system. For the hearing sen- sitivity familiarization, Gordon (1989) sta- tes that: Type 1: The most common type of audi- tions takes place as we are listening to music. When we listen to familiar and unfamiliar music, we edit familiar and unfamiliar tonal patterns and rhythm patterns, and then connect them in order to give syntactical meaning to the music. The activity to familiarize the stu- dents’ hearing in Salendro tone learning is not only to set the hearing perception of the students towards the tone, but also to get the students to be able to read Salendro musical scale with learning sources taken from Salendro’s etude material. For this, Gordon (1989) delivers that: Type 2: The second type of audiation ta- kes place as we are reading the notation of familiar and unfamiliar patterns in fa- miliar and unfamiliar music. It is called notational audiation. We may read si- lently, or we may perform what we read with our voice or on an instrument, or we may read as someone else performs the music. The next activity is singing the mo- del song entitled “Oray-Orayan” that has a medium interval which tone interval is not too far from one to another (step interval in Salendro tone). It is then continued with Question and Answer activity to enhance the students’ understanding towards the difference of salendro’s sound and interval with other tones. After finishing learning “Oray-Ora- yan”, the next singing is the song Niron Tentara that has longer interval, the inter- val in certain motives even up to one gem- byang. In this step, learners learn to be fa- miliar with salendro tone and musical scale through the songs, started from simpler songs to the more complex one, in other words, from simpler songs to the stepping movement, and finally the lifting one. Different stages of learning show dif- ferent characters of musical scales of tones heard by both Western Tonal and Salendro. From different learning stages, it shows that tone understanding approach which is based on hearing sensitivity in Salendro tone learning moves to be more flexible, since the salendro is naturally modal, does not have tone centralization and cadence as shown in Western total. The western to- nal itself, the cadence is based on the first (I) accord (Tonika), IV (Sub Dominant), V (Dominant) and back to I (Tonika). In Salendro, the feeling absorbtion of tone is introduced by teaching the salendro musi- cal scale to the learners, mainly by using the kempyung circular, in the form of tone lifting, from Da to Ti, and is continued by finding proper tone, both in rising and fal- ling interval and in stepping and lifting movements. As explained earlier, the Western to- nal tones employ tone centralization, the- re is always tendency for the accord to be back to the first (I) Tonika, or, from Tonika, to Sub Dominant, Dominant, and back to Tonika. Meanwhile, for Salendro, since the interval is shorter, there is a feeling that the accord keeps moving. To finish a senten- ce in a musical work, one does not need to be back to the tone I or Da, but one can finish the tone in Na, Ti, or other tones. This study emphasizes on the conclusion that Salendro tone can move in a flexible way, it is typically modal. The benchmark for finding the right tone can be done by sensing the feeling of kempyung Da, lifting down to Ti, but to finish a musical senten- ce, one doe snot need to be back to the tone I, especially for Sundanese songs. Zanten states that: In Kusumadinata’s relative system, which cipher is given to a particular tone depends on the function of the tone in the modal theory: in different modes the name da (=1) is, for instance, given to a different tone. HARMONIA : Journal of Arts Research and Education 16 (2) (2016): 172-181180 From the citation, it is learned that ci- pher is used in particular tones, depending on the tone functions in the Mode theory. In different condition of modes, the tone Da (=1) can be given to other tones. Finally, this study learns that what causes the learners to face difficulties in giving tone centralization benchmark in Salendro tone is because Salendro’s interval which range between tones is close from one to another, besides it also has the ten- dency to be typically modal. To answer the matter, continuous conditioning to strengt- hen the hearing perception of learners to the Salendro tones is considerably needed. In addition, to strengthen the ability of learners to understand this tone, there is Sundanese local wisdom-based- audiation theory to help them. CONCLUSION This study results in finding, in a form of typical audiation process in teach- ing salendro, owned by practitioners and instructors that is taught to students to be able to master audiation ability. Most of Sundanese karawitan artists have their ways to teach the Sundanese tone feeling mastery to their students. One of the ways is by teaching the interval lift Da, down to Ti (Kempyung), which is then used as a ben- chmark to find other tones with the step- ping or up and down interval movement. Singing the salendro musical scale that is continued by introducing kempyung sense that is started by up and down lifting movement from Da to Ti, then finding the appropriate tone both in rising and falling interval movement. Singing “Kaulinan barudak oray- orayan” songs to familiarize the students with salendro tone. The song’s melody is short, easy to be remembered, with step- ping up and down interval movement that makes the song is easy to be sung. Question and answer about the dif- ference between salendro tone with other tones, like, pelog and madenda. Teaching the song entitled “Jalan” with varied interval lifting; stepping inter- val and a reasonably short lifting interval. Teaching the song entitled “Niron Tentara” in a difficult interval lifting up to one gembyang (one level up, as one oc- tave in Western tonal in eight tones that in salendro is in five tones). The practice of singing salendro tone and its interval variation. Practice of fin- ding the appropriate tone of salendro mu- sical scale through tone lifting Da to Ti (strengthening feeling of kempyung along with the practice of reading salendro tone). Singing the model song with the easier interval lifting (stepping) in salendro tone (with the notation reading of model song). Question and answer to strengthen the understanding of note and interval dif- ference of salendro compared to other to- nes (conceptual strengthening of salendro tone). Singing the model song with comp- lex and far interval lifting along with the activity of reading notation of model song to strengthen salendro tone (higher difficul- ty level). Audiation model of salendro tone that becomes the finding of this research is only one alternative to strengthen the feeling to- wards salendro for learners who never liste- ned and known the salendro. The study results towards non-Sun- danese learners show that after experin- ceing audiation learning, generally the learners have had the ability to sing simple song in salendro tone and also to sing the salendro musical scale. The advantage of salendro tone audia- tion model based on the research is that the model has been successful in teaching and implying salendro tone to non-Sundanese learners who has never listened and kno- wn the tone before. The limitation of the study findings is on the time to familiarize the learner’ hearing sensitivity which considerably needs longer time in about one semester or five months before the model can be implemented. 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