The pesindhèn may sing together with a gerong (male chorus), but their styles and words will be different. The part of the sindhen is largely improvised within strict parameters (similar to instrumental cengkok). The sindhen is also allowed a much freer rhythm, similar to the rebab and suling, instead of the strict rhythm of the gerong.
The original term for pasindhèn was waranggana, and the women were exclusively background singers for wayang and kliningan performances. This word was derived from ronggeng which had undertones of lasciviousness, so in 1948 the most prominent gerong managers gathered and agreed to change it to pasindhèn. Along with this shift in terminology, the women took on more prominent roles in the troupes, and started to sing alone. The stage names of pasindhèn also changed, from pseudonymous birds' names to the women's actual names.
- Kunst, Jaap. Music in Java. The Hague: Martinus Nijhoff, 1949. Page 127.
- Walton, Susan Pratt. Heavenly nymphs and earthly delights: Javanese female singers, their music and their lives. PhD thesis. University of Michigan, 1996.
- Walton, Susan Pratt. Mode in Javanese Music. Monographs in International Studies: Southeast Asia Series 79. Athens: Ohio University Press, 1987.
- Rosyadi (2015). "Fenomena Penggunaan Magi pada Kalangan Sinden di Kabupaten Subang-Jawa Barat (Studi tentang Sistem Religi) oleh Rosyadi". Patanjala. 7 (1): 152. doi:10.30959/patanjala.v7i1.90.
- Weintraub, Andrew N. (2004). "The "Crisis of the Sinden": Gender, Politics, and Memory in the Performing Arts of West Java, 1959-1964". Indonesia. 77 (77): 64. ISSN 0019-7289. JSTOR 3351419.
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