a tool to mimic the sounds of animals

'Pias': 'Sound' or 'Music' ?

By Edi Nasution

EPILOGUE

When a piece of bamboo that is formed in such a way, then blown (played) by a person in certain ways, so as to imitate the sound of 'ruak-ruak' bird (in Indonesian is 'belekek'), 'ursa' (deer), 'ijang' (clever) and others. Similarly, the sound produced by the human mouth by way of 'whistling' (called 'marpiul') can mimic a variety of 'sparrow' bird like 'silopak', 'silisit', 'sikodit' and others. Musical activities like that ever happens in Mandailing community as a farming community in the past.

The efforts of various animal sound imitation with a simple tool - 'bamboo' and 'human mouth' - with a view to that animals hear his voice imitation was hooked and came close to the sound source. If the animal is already within the catch, then caught by a person or group of people (children) who are hunting animals with sounds (imitation) was called 'mamias'. At the time of the all-powerful as it is now (modern), it may be many people who will try to keep himself from laughing when he saw a 'simple tool' which is made from a piece of bamboo that is formed in such a way, then blown (played) by someone with way-certain way, so as to generate sound (imitation) animals.

However, if we ever tried to understand how the instrument sounds terciptaya we consider the very simple? But it can produce or mimic owned animals ? Certainly not as simple as we thought, because people who first created the sound of the instrument may have been doing 'experiments' dozens or even hundreds of times - not unlike like a professor of physics in the laboratory. 

First, he may imitate the animal's sound with his mouth, could not, then tried to use a variety of plants that are in the natural surroundings and other objects are closely related with the process of creation. After that, if the process of creating a tool 'sound' (music?). We have a very simple view that we can still say no 'advanced' or 'modern' ?

MUSIC AS CULTURAL

For Mandailing community, 'pias' is a special tool (made ​​from a piece of bamboo) used to make of imitate the sound of a particular animal with the intent to be able to catch it. Then, if the sound of 'pias' can be said to be 'music' ? Otherwise, if the 'music' that ? This question is certainly confusing, because although 'music' is understandable but the scent is difficult to make the definition of 'music' comprehensive. According to the experts that in the context of 'world music' (science of music) will give two alternative answers. 

The first is 'intra-cultural view' (emic view), in which 'runs, the sound' can be called 'music' when supporting culture are 'learned' refer to it as 'music', and of course this depends on the definition of public opinion supporting a culture, regardless of the opinion of the outside of what they feel from the sound. While a second opinion holds that any 'sequences to sound' can be regarded as 'music' when combined with elements of tone, rhythm, and dynamics. So emotionally is a means of communication, has the beauty of nature or functionally still in a way that is not so simple and making it up or not at all related to the 'speech spoken language' used as a means of communication in everyday life. 

Based on the two proposed definition of science experts in the field (music) this, an ethnomusicologist can analyze of sound ('noise') generated 'pias' is to find a character (aspects of) 'musical' regardless of how or listeners of the game in society the owner of the view or react to the 'tools' that produces sound (imitation) are 'similar' animal sound when blown (played) by someone.

In connection with the above, a broad and flexible approach to studying 'music in culture'  - 'music as culture' or 'music in the context of culture' - is the discipline of ethnomusicology. Ethnomusicology is essentially the scientific study of music featured in world cultures or sub-culture, whether in relation to the actual sound and performance art practices, and in relation to specific cultures or compare it with other musical cultures (see: William P. Malm, 1976). In accordance with the definition of 'ethnomusicology' filed by William P. Malm, then by itself 'the world ethnomusicology' always wrestle with 'music as culture' and 'music in the context of culture'. While talking about the two main things that can not be separated from the term 'use' (usege) and 'function' (usability) in a 'musical culture' which is owned by certain ethnic groups, which in this case is Mandailing ethnic faction (see: Alan P. Merriam, The Anthropology of Music, 1964).

Previously we have mentioned above that attempts to arrest the animal (called 'marburu') can wear gimmickry such attention from a piece of bamboo, mouth, etc. to mimic game. Animal imitation sound produced by a simple tool, which when played in certain ways, thus resulting in the sound (noise) that can captivate the attention of the animal and it will be close to the sound source (imitation) it, and after the game animals is at a distance closer and catch, then captured by the hunters with other tools such as the 'tombak' ('spear'), 'lading' (machetes), ''ketapel' ('slingshot') , 'pulut' ('sap from tree') , 'ultop' (a kind of tool of small bamboo tube containing arrows of bamboo in sickle small rounded and the back has a balancing tool of cotton, and then blown like 'chopsticks'), and others.

With respect to the number of tools called 'pias' is, of course we can not describe all hunting activities using gimmickry with the voice imitation. In this paper described two forms of 'pias', namely:

>>> 'Pias' for 'ruak-ruak' (called 'dokut').

This tool is also called 'dokut' made ​​from a piece of bamboo about 15 cm in length and 3 cm diameter tube, as described by Ir.Hafis Nasution. In blown molded parts such as 'whistle' (near the mouth of players)  there is a 'sound hole' which is cut off by thick about 1 cm and a depth of 1/2 cm. While at the end near the 'segmen' made ​​also an air hole size of approximately 0.6 cm, where the 'cap' his left intact as usual (still closed).

Hunting with a 'dokut' as is usually done at night in the fields. Blower 'pias' standing in the middle of rice fields at the site of a rather broad and open, and then he starts sounding 'dokut 'the sound patterns of 'ruak-ruak' birds like 'find friends', and a few moments later, when you're lucky you will hear the sound of replication of game birds. Furthermore blower 'pias' (called 'si pamias') follows the pattern of the game sound and the bird usually will soon come closer to the sound source. After the bird approached, the pamias create sound patterns such as 'persuade' ('woo') while continuing to approach the bird while highlighting the eyes of the bird by means of a torch (flashlight). The light from the flashlight will make the bird startled and paused. That's when 'si pamias' catch the bird with his hand quickly.

>>> 'Pias' for 'burung pipit' ('sparrows').

To attract the attention of sparrows like 'silopak', 'silisit', and 'sikodit' by wearing a mouth like a person who was whistling. Mimicking the sound of birds whistling manner is called 'pias' course and is usually done in the morning, afternoon, and evening by a person or group of children. These small birds usually fly in the air in a huddle, then one or more child sparrow imitation mute while hiding in a strategic place to block. Flocks of birds who hear voices 'imitation' it will go down and approach the sound source, because they think there is a kind friend (bird) at the venue. And that's when the hunter (the children) trying to catch a bird in a way like wearing a 'katapel' ('slingshot'), 'ultop' or 'pulut' ('gum tree') that have been stocked prior arrests in the area of ​​the bird.

It can be added that this type of sparrow has a distinct fondness for perching on certain places. There is love in the trunk while eating the fruit of the rice paddy, in the bushes, and some who like to jump around in the branches of bamboo trees. In addition, both the birds 'ruak-ruak' bird ('belekek') and sparrow are usually caught for food, but there are also types of sparrows captured to be maintained by the children, as described by Abd. Rahim Lubis (22 years age from Tambangan Jae-Mandailing Julu).

From the above description would have been obvious to us various things about the 'use' of animals with sound gimmickry imitation ('pias'), while 'function' main concern is to lure game animals for food and also to be maintained in a particular container (called 'cangkah') as a garnish, which is usually hung in front of or beside the house.

EPILOGUE

It is very unfortunate because until now we do not have documentation (records) sound produced various kinds of 'pias' it, making it difficult for us to discuss it further, especially the musical aspects. The resulting sound recording 'pias' is quite important given the possibility of a relationship between the concept of 'voice' (the human) and 'sound' (the nature around) where they (the Mandailig people) life, as has been revealed by Sungkot Lubis from Tamiang and 'Ompung Bor' (Burhanuddin Lubis) from Huta Pungkut Jae.***

Been published in the Waspada Daily, 1991.

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