ENDE

“ENDE”, MANDAILING FOLK SONGS

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by Edi Nasution

As one of the ethnic groups in North Sumatra, society has various shades Mandailing folk songs and they call it "ende". A mother for example, singing as he cradled his son in order to fall asleep is called "ende bue-bue". Similarly, when a father for example expressing compassion through singing to his son who left for dead by her mother called "ende-uro uro".

"Ende mamuro" can be present in the loom when a farmer dispel sparrows who eat rice in the fields. There is also a vendor or seller "ngiro" (sap water) as "ari poken" (day of week) shouted: "... ngiro na ... ngiro na ... !!! patalak ... patalak ... so u patungkap ... " to include "near song" (Jan Harold Brunvand, 1968), is more concerned with the singing of "words" instead of the song, which is better known as "peddler's cries". Moreover, in some singing Mandailing present together dance "tortor custom", ie "jeir" that accompanied the ensemble music "Gondang Boru".

This time we try to explain a little about the two people singing Mandailaing. First, "ungut-ungut" contained in "Mandailaing Julu", and secondly, "sitogol" from "Mandailaing Godang". Which "ungut-ungut" usually can be present in various places and occasions. While "sitogol" usually sung person (youth) from above "tor" (small hills) are often interspersed with the sound of a musical instrument "olonglio" ("uyup-uyup durame" - free reed) and the occasional "dosik" (whistling) that can be heard and to the attention of the idol girl who was working in the fields are located in the valley hills.

AMBIGUITY

In the lyric song called "Sitogol dari Mandailaing Godang" created by Nahum Situmorang said that "Sitogol dari Mandailaing Godang" equals "Onang-Onang" contained in Angkola. As far as the authors that both singing it much different, both from the aspect of her music and in terms of use.

"Sitogol" from "Mandailaing Godang" has a rhythmic and melodic style that is much different from the "Onang-Onang" from Angkola, and "Sitogol" never present in the context of the traditional wedding ceremony for example, while "Onang-Onang" of Angkola it is "traditional singing "brought together dance "tortor” indigenous to the accompaniment of a musical ensemble "Gondang Dua". Although there are "Onang-Onang" sung not in the context of traditional ceremonies, but the cultivation of musical styles are not much different - just text or poem are calm - in the context of traditional ceremonies. So it is clear that "ende Sitogol" from "Mandailaing Godang" is not the same as "Onang-Onang" from Angkola.

In this case, Angkola is one ethnic group nearest neighbor Mandailaing ethnic groups in South Tapanuli. It may be said that between the two ethnic groups is more prevalent cultural similarities than differences. While South Tapanuli itself is a term for a government administrative region now that the status of "district" which is a Dutch colonial heritage. Therefore, there will never be "Gondang Tapanuli Selatan” (art and culture of South Tapanuli).

TEXTUAL ASPECTS

Both "ungut-ungut" or "sitogol" has text or poetic Mandailaing and generally contains jeremiads (expression of feelings) about love or even destitution. Therefore they are more concerned than song lyrics. Both the singing initially did not have the number of rows (the temple) which remains as sung spontaneously. There are times when 4 lines (structured poem), line 5, 6 lines and so on, but there is a tendency in the subsequent development of "structured rhyme". For "ungut-ungut" that "rhyming ab-ab", where the first line and the second is "sampiran", being the third and fourth line is "content". The text "sitogol" structured poem (or not) as well as a whole tend to contents, without any “sampiran” its.

In the text singing "ungut-ungut" and "sitogol" There are a lot of word 'mada', 'ile', ‘baya, 'da' and others that do not connote (meaningless syllables), the same position with the word 'lah', 'kah','kah’ or 'yang' in Indonesian. Words or syllables are used to support the "artistic effect" and sometimes to adjust the amount of syllables in each "range of melody" (phrase). Things like this was first formulated by cultural Drs. Z. Pangaduan Lubis in his paper: "Penelitian Tekstual Dalam Jeir: Suatu Pengamatan Awal“. Talk presented at the III Ethnomusicology 1987 at the Faculty of Letters USU Medan.

When considered in the composition or the number of syllables sung melody for each range, it does not have the same amount. This situation shows that the number of syllables for each range of the melody is not binding by default. It can form sentences long or short in any stretch of the melody. Adjustment long or short sentence in each range melody when singing “ende sitogol” or “ungut-ungut” depending on the "expertise" of “si parende” (singer) itself.

ASPECTS OF MUSICAL

'Ungut-ungut"solo sung by a man with a moderate tempo, melodic style that is static (heightened speech), without meter (heterometris) and usually as an accompaniment is a wind instrument “distilled" or "salung". While “sitogol” also sung solo by men with moderate tempo, sometimes interspersed strains “olonglio” musical instruments and the occasional "dosik" (whistling). in addition, "sitogol" has kantur melodic ascending (up) and also without meters (heterometris). the fundamental difference, where "ungut-ungut" sung softly.

While “ende sitogol" shouted a bit stronger as sung from the top of the hill in order to be heard idol girl who was working in the fields, in the valley, the hills where he sang "sitogol". Both "ungut- ungut” or "sitogol" tend to be "strophic" because they always repeat the formula (form) the same melody but with a new song text. RizaIdi Siagian MA (Chairman of the Department of Ethnomusicology at the Faculty of Letters USU) suggests that music (vocal) as this is called "Logogenic". This means that more emphasis clicking the text songs to express ideas rather than the satisfaction of musical aspect.

CLOOSING

"Ungut-ungut" and "sitogol" is a folk song of Mandailaing (called "ende" only by them) that consists of words and songs, traditional form because there is and exists in Mandailaing society since the beginning until now. Also has many variants and circulated orally in society Mandailaing.

Furthermore, it can be argued that the two Mandailing folk songs can be categorized into lyrical folk songs that are real (James Danandjaya 1984; 14153). Because the lyrics express feelings without telling a story that is continued, and the dominant express feelings of sadness, despair at the loss of something, or love, or even destitution depicting human desires are never reached.(*)

Posted in Daily WASPADA Medan, 1991.

Mandailing Block Flute

'Uyup-uyup': Mandailing Wind Instrument

by Edi Nasution

EPILOGUE

"Someone from certain tribal can understand and appreciate music traditional owned by other tribal well, for example, Minangkabau people can understand the Mandailing music traditional and vice versa, if he is willing to learn the customs, language (culture), 

and listen to the traditional music as each individual ethnic group 

that listen and understand their own music".

Of course our traditional music can not compare with Western diatonic music because each one (of the two) have the concepts and systems of different music. Nevertheless the two styles of music that we enjoy and appreciation to the approach of the kind described above. This situation shows that the 'music' (as a means of communication) is not a 'universal language', because although both have 'logic' are the same but have different concepts and systems. Something like that 'way of thinking William P. Malm' in his book "Music Cultures of the Pacific, the Near East, and Asia", second edition, (1976) .

Residents who live as farmers in a number of community residential places in the 'region' (called 'banua') Mandailing Julu (Upper Mandailing) has various kinds of musical traditional instruments as a legacy of their ancestors (heritage). One of them is a wind instrument called 'uyup-uyup' are made ​​of various natural materials, which are in the vicinity of their settlements. There 'uyup-uyup' made from rice plant stems called 'uyup-uyup durame' ('rod' or 'whistle' rice in Mandailing language is 'durame'), and unisex 'uyup-uyup' made from a tree branch bamboo called 'tulila' or 'tulilla' which has a 'tongue' (reed) and four tone holes. Wind instruments 'tulila' is first used to make a young man get up a girl (a very coveted) woke up and then persuade him well with 'words' that whispered through the 'lubang pangkusipan' or the 'tulila' which played beside the house where the girl was sleeping together his fellow- girl (called 'bagas podoman'). While 'uyup-uyup durame' wrapped around a young coconut leaves, which gained momentum in the forward direction (called a cone-shaped 'pokak') to increase the volume of his voice when blown.

In addition to the two types of 'uyup-uyup' mentioned above, a wind instrument called 'uyup -uyup' can also be made from the leaves of various plants, such as coffee tree from a leaf, banana leaves, durian tree leaves dutch ('zirzak') and others. To make 'uyup-uyup' of plant leaf, first leaf was rolled to make circular conical, and then inserted into the oral cavity to be blown. Based on the use of the material or the material used to make wind instruments 'uyup-uyup' this, that one of the 'uyup-uyup' terms is a wind instrument made ​​from certain herbs. The words 'uyup-uyup' can be found in the 'ende-ende' (quatrains) rhyming "ab-ab" is often sung as lyrics (poetry) of 'ende sitogol' or 'ende ungut-ungut', as follows:

Uyup-uyup parupuk... 

Na solot i sopo saba... 

Oli-oli mapukpuk... 

Na iopkop ahape suada... 

The first line of the poem begins with the phrase "uyup-uyup parupuk", in which the 'uyup-uyup' combined with 'parupuk' words, which is a kind of herbaceous plant that is similar to the rice that grow at the edge of the river. Some people in Mandailing say, that in the past there is also 'uyup-uyup' made from 'parupuk' plants (as a children 'toy'), where this is possible because there are various types of plants including 'parupuk'. Besides, there is also a saying that the 'parupuk' word in the poem is only a 'sampiran' ('figures of speech') that are deliberately chosen to fit with the end of the lyrics in the form of content that is 'mapukpuk'.

When I (the author) with traditional musicians from 'Huta Pungkut' (Jabondar, Dingin and his children who are visually impaired), where one of them asked a colleague who is playing the 'suling' (block flute) to play the 'uyup-uyup' 'song' (rhythm) by saying: "Baen jolo e  uyup uyup i kahanggi". At first I was confused by the request his brother, because at that time we gathered none of the types of musical instruments including wind instruments 'uyup-uyup'. But after hearing the sound of 'flute' which plays the song (rhythm) is often performed with a wind instrument 'uyup-uyup durame' for example, then realized that the 'uyup-uyup' word can also mean rhythm (music) or melodic patterns that has a certain character. In Mandailing Godang, 'uyup-uyup durame' is called 'olanglio', is a word that sounds a bit like 'uyup-uyup durame' when played by someone.

At a 'huta' (of settlements) in Mandaiing, a woman will not blow 'uyup-uyup bulung tarutung bolanda' if he knows there are others who will hear it, all the more so for men, women and even against fellow was he be reluctant or embarrassed, except with his friends who are already quite familiar. Because what it does is something that is 'abstinence' (taboo) if the other party sounds, while 'uyup-uyup' often blown by young children as a 'toy', but is not considered taboo by Mandailing society.

The loss of tradition 'maruyup-uyup' ('uyup-uyup' plays) is in Mandailing now caused by various factors, one of which is probably the influence of the times, so they assume that 'maruyup-uyup' art-music is outdated (archaic), so that they feel 'ashamed' to play. Scarcity tradition 'maruyup-uyup bulung tarutung bolanda' by women is now difficult for us, especially to describe the musical aspects. Even so I never have documentation music 'uyup-uyup bulung tarutung bolanda' played by traditional musicians named Supri Lubis (30 years), Arman Lubis (25 years), and Asman Lubis (23 years old) from 'Huta Pungkut - Mandailing Julu.

When I play music recordings 'uyup-uyup bulung tarutung bolanda' it to some older people both women and men in the residential areas and also in other settlements in Mandailing Julu, they immediately say that the music is a sound recording that resulting from 'uyup-uyup bulung tarutung bolanda' which is usually played by a woman in the past, when what actually plays a grown man, at noon in the 'huta'.

ORGANOLOGICAL AND INSTRUMENTS CLASSIFICATION

Wind instrument 'uyup-uyup bulung tarutung bolanda' made ​​from durian leaf dutch (zirzak) which is not too old nor too young, Supri Lubis explains. The tip of the leaf is cut slightly by using your thumb nail, so that it can be rolled up leaves well. Rolled leaf from the tip of the leaf is cut to the inside, but it should be noted that the 'bone leaf' should be rolled around like a coil spring growing to form a conical tip. In order for the better leaf rolls, can also be twisted, after the first 3 times rolled, in between both hands, and the new rolled back. Then the tip of the cone rolls dikepit between the thumb and forefinger of the right hand or the left, depending on skills and habits players, that 'uyup-uyup' (leaf roll) do not open, while the end of the 'uyup-uyup' the other (smaller) pressed with the thumb and forefinger of one hand again .

Before 'uyup-uyup' inserted into the oral cavity, first - hand clamp 'uyup-uyup' by way of grasping and closing the hand or embrace one another holding hands 'uyup-uyup', while part 'uyup-uyup' that two-thirds stretched out put in the mouth and base is placed under the tongue, and the combined hands to his lips sealed over her mouth. The air is continuously blown to meet the oral cavity and the move towards 'slim hole', after pressed with a finger would be elliptical in shape and thin, and into the cavity 'uyup-uyup' the form of loops. In - crease or winding 'uyup-uyup' the broken air, where there is air coming in through the winding 'uyup-uyup' and others continue to move in the cavity 'uyup-uyup', then the 'sound of music' was produced.

In this tradition in the arts, a 'paruyup-uyup' ('uyup-uyup' players) must have long breathing, and subsequently he was able to create a melody in a way: opening and cover with the hand attached to the hand-holding 'uyup uyup', zoom in and out of the air column inside the oral cavity, and moving the tip of the tongue from side to side.

It should be also added that if the saliva enters the cavity 'uyup-uyup' until a certain number will be able to plug the holes - hole thin between windings, and it will inhibit air split, which in turn 'uyup-uyup' can not produce sound. Therefore, the opposite of the methods offered Hornbostel and Curt Sachs (1881-1969) to describe and classify all kinds of musical instruments world, then 'uyup-uyup bulung tarutung bolanda' in Huta Pungkut can we put in the aerofon classification or subclassification block flute often referred to as recorder.

ASPECTS OF MUSIC

From what is heard through a tape-recorder as the recorder, where 'uyup-uyup' is played with andante tempo, and rhythm which summarizes the units of time seems to have the same length or distance (isometris), and has a tendency to repetition of the pattern the same rhythm (isoritem).

Surely we will have trouble when doing analysis 'tonal system' to the 'melody' and also 'rhythmic style', which is produced 'uyup-uyup' using the method invented by Westerners. Especially with regard to the tone generated by using the method of 'tempered twelve tones', where we often find 'tunes that are not in tune' with the chromatic system . The tones are not in harmony produced by 'uyup-uyup' this is not an error or mistake because the concept of 'standard pitch' will be different in their culture for each ethnic group in the world. Even Westerners who created 'systems or twelve-tone chromatic scale' will never be able to just sing chromatic tones according to its size.

In connection with efforts to determine the tones generated by the melody lau 'uyup-uyup', the author first of all listen to the voice of the lowest. And because 'cantour melodic' song  'uyup-uyup' these are 'ascending' (rose), making it easier to determine the 'basic tone' ('root tone') and other tones. With the tools a guitar (while regarded as monochord) and considers the first tone as the 'basic tone' which is exemplified as well as the tone of 'C', the tones produced are "C - Db - D - Eb", in which the region tones are in 'one octave', and notes that it has sequential as well as 'scales' (mode) the resulting string melody 'uyup-uyup' with one voice. While the melodic style has a small motif (leitmotivic), tends to be repeated (ostinato), and 'improvisation' is done by developing variations. The next interval is used sekunde minor and major, and the melody has a cadenza pattern ('C - Db') that tends to be repeated anyway.

PROLOGUE

Wind instrument 'uyup-uyup bulung tarutung bolanda' solo played by a woman and is a 'secret' because it is closely related to the cultural value system ('taboo') in the first period. As with the 'uyup-uyup durame' (also called 'olanglio') which had 'pokak' usually sounded when resting during the day after the rice harvest in the fields rollicking, sunggguh make the heart glad and happy to hear his voice.

In my native country first, 'manyabi' (harvest rice) is a 'great event' and encouraging. How not, our family and relatives of the father ('amanguda', 'amangtua', 'kahanggi-sosolkot', and so on) and also from my mother's side ('mora', 'mora ni mora', and so on), we are all abuzz harvest rice in our rice fields. At other times and occasions, our family has always helped harvest rice in the rice fields we are brothers (this habit is called 'marsialap ari' ).

Morning before going down rollicking paddy harvest, first we all eat together with typical snacks called 'bubur cacak'. And during the day, after harvesting rice tired, and then we had lunch together with the typical side dishes anyway. Usually available curry chicken with potatoes, 'gule bulung gadung' (mashed cassava leaves), 'bolgang torung', and do not miss 'lasiak tuktuk' (minced chili mixed with dried sea fish). Woowww ... very delicious ! Large family meals in 'sopo saba', which is usually located in the middle of rice fields.

Lively and festive atmosphere added when there is a grown man taking a piece of rice straw ('durame') to maketh a wind instrument, which is then wrapped with strands of palm tree leaves are young so as to form a cone (called 'pokak') to increase the volume of his voice. When blown with certain techniques and patterns of melody, the sound of music that sounded so excited and chirpy. Occasionally, other than rice acreage also heard the sound of the music produced by the same instrument. Somehow, those who play musical instruments ('uyup-uyup') it sounds like bersahut-replication and beautiful once floated to our ears, which are then entered into the recesses of the heart ... oh happy once !

Gandoang. March 13, 2014.

~ o0o  ~

Mandailing Folk Songs

'ENDE': MANDAILING FOLK SONGS

By Edi Nasution

As one of the ethnic groups in North Sumatra, Mandailing people also have different types of traditional song and they call it ‘ende’. A mother, for example, singing while cradling a sleeping child should be called 'ende bue-bue'. And when a father's example expresses compassion through singing to his son who left to go (die) by her mother called 'ende uro-uro'.

In addition, 'ende mamuro' may be present in the loom when a farmer banish sparrows that eat rice in their fields. There is also a vendor or seller ‘ngiro’ (water tree sap) during the course of 'ari poken' (the day of week) occasionally yell: "... ngiro na ngiro na... ! Patalak ... patalak ... so u patungkap ..." to include ‘near the song' (see: Jan Harold Brunvand, 1968), is a song which is more concerned with 'lyrics' rather than a song (melody aspecs), which is better known as 'peddler's cries'. The song comes together with traditional dances 'tortor', ie 'jeir' accompanied by musical ensembles 'gondang boru' (‘gondang topap’).

This time we tried a little describe about two types of Mandailing folk songs namely: (1) 'ungut-ungut' is more widely known in the region ('banua') 'Mandailing Julu', and (2) is 'sitogol' is more widely known in the region ('banua') 'Mandailing Godang'. In this case, 'ende ungut-ungut' could normally be present in various places and occasions such as in the fields and homesteads in garden, 'sopo podoman', and so on. ‘Sopo podoman’ as a youth bed, on the edge of the river, or in the woods. While 'ende sitogol' usually sung by person (youth) from above 'tor' (hills) are often interspersed with puffs of musical instruments 'olanglio' (‘uyup-uyup durame’-free reed) and occasionally with 'dosik' (whistling) in order to be heard and to the attention of the girl idol who was working in the fields are located in the valley of the hills.

Textual aspects

'Ende sitogol' contained in Mandailing Godang have rhythmic and melodic style that is much different from the ‘ende onang-onang' has Angkola tribe. This has never sung in the context of the traditional ceremony of marriage for example (called 'markaroan’ or 'haroan boru'), while 'ende onang-onang’ of Angkola it is 'customary chant' which is always present together with indigenous dance 'tortor' accompanied by a music ensemble 'gondang dua' ('gondang boru'). Although there are 'ende onang-onang’ that is not sung in the context of traditional ceremonies, but the cultivation of his musical style is not much different - just text or poem just a calm adjusted to - context. So it is clear that 'ende sitogol' of Mandailing Godang is not the same as 'ende onang-onang’ has Angkola tribe. In this case, Angkola is an ethnic group nearest neighbor Mandailing ethnic group in South Tapanuli (north Sumatra). It may be said that between the two ethnic groups is more often found cultural similarities rather than differences. While South Tapanuli itself is the name for a government administrative region now that the status of the district which is a Dutch colonial heritage. Therefore, there is no 'Gondang Tapanuli Selatan' ('art and culture of South Tapanuli'), that there is art, culture and the arts-culture Mandailing and Angkola, each tribe that has a distinct musical character. However, in recent decades, indigenous music ensemble 'gondang dua' and 'ende onang-onang’ has become a traditional art in Mandailing, which is often served in a traditional wedding party. In various traditional ceremonies earlier in Mandailing, custom music ensemble 'gondang dua' ('gondang topap') which is usually accompanied also by indigenous chants called 'jeir'. Here are the lyrics 'ende jeir', 'ende sitogol', 'ende ungut-ungut', and 'ende onang-onang' to show the differences in the four singing tardisional.

Lirics ende Jeir

o … santabi sapulu baya noli santabi laung

o … di boru ni ayu ara na godang parsilaungan

o … tortor muyu on tortor maroban domu dohot haratan

o … hamu na opat dimanjujung i mada 

o … panortor ni boru na mora habang dongan so tarboto-boto mai

o … na songgop so tarbege-bege boti

o … ayu ara na godang parsilaungan 

o … tortor muyu nian na borkat maroban holong dohot domu

o … amu na tolu simanjujung 

o … santabi sapulu dongan noli santabi baya

o … di boru ni ayu ara na godang parsilaungan

on mada dongan ibana tortor ni ale nauli bulung do

on di napa-napa boti i tano Maga Lombang on Gunung Marapi do na martua 

o … banua ni Raja Panusunan Bulung na sakti on do

o … Mangaraja Bangun dongan Pandapotan panyundut i

o … suang songon parhabang na ni dongan sitamba laut do

o … tortor ni boru na mora

o … na mora amu na tolu

o … simanjujung 

o … manortor margindar dongan tolu da sanggar an ma

o … mangadopkon raja-raja humaliang humalogo

o … na tolu simanjujung 

o … na suang songon parpusuk ni maldo boti di dolok do

o … tortor ni boru na mora di luat ale tano Maga

o … ayu ara na godang parsilaungan

o … adiankon jolo le somba on laos tu pudi baya

o … marsomba ho inang tu siamun dohot somba tu siambirang ale

o … so horas ko nian da na manortor boru suti

o … na jongjong mada opat boti saanggaran samo ginjang samo godang do

o … di ulu nai da baya naso marrongit do bagas godang na martua do

o … banir na bolak parkolipan

o … ulang kamu maila dina manortor palontik tangan

o … siambirang 

o … ulang kamu tolu dongan bajora boru rangkuti baya

o … na di pudi do bayo jambu dongan na mongkol Maga baya

o … i ma bayo dongan na sakti on tarmauk na tarbonggal

o … di luat ni Mandailing on

o … boru rangkuti i mada … 

Horas … horas … horas …

Lirics ende Onang-onang

Ile onang baya onang

tapuka ma le tajolo mulai on

nda asok ma jolo le fikiri ada

ulang nda maruba nian ale luai on

sian najolo indu nda sannari on

Santabi nda jolo sappulu on

sappulu noli marsatabi on

tu jolo na dua le tolu on

lobi nda tarpasangapi on

ois nda taronang ale baya onang

ois onang baya onang

parsanggulon doda pe baya hoda on

da napayak boti di sima manjungjung on

on mada na pasonangon ile roha on

na panortor ni nauli boti bulung on

tortorkon bole baya tu toruon

tortorkon bole…tu toruon

di galanggang ke baya boti siriaon i

di galanggang ke na so marrongit on

di guluan ken a so marlitta on

ile onang taronang ale ile onang

Lirics ende Sitogol

mangguris so tarpadaek le

suratan bagian baya

sonang i son baya ita marbaris ningku da

ulang ita buat ayu di ujung ni aek

sanga tong do ro baya tolbak dohot banjir bagian da baya

ancit ni na mandurung jo

na sora nian mian marangan-angan

pukul sapulu au baya ando mangan

muda di ho do dai inang manggadis

inte do toke baya parutangan bagian baya

Mandailing Kotanopan alale

na so unjung na dangol baya

madabu ampang sitare-tare ningku da

on pe madung ro baya parkancitan

mananggung badan simanare da baya

Lirics ende Ungut-ungut

u tampul ale uar-kuar

mambaen tungkot panjolung tanaon

ulang ale baya ita padiar-diar

i ganggu alak baya arangantaon

u tampul ale uar-kuar

pantak-pantak baya di tonga saba

ulang ale baya ita padiar-diar

sanga tong marsik aek ni saba

pantak-pantak baya di tonga saba

pala i oban pade ambaen soban

muda na marsik ale aek ni saba

pasti nangkan susut baya pandapotan

poken ale di kotanopan

adong poken baya di simangambat

muda peto ale madung susut pandapotan

nangkan na ita do na malarat

Both ‘ende ungut-ungut’ and ‘ende sitogol’ in Mandailing have poetic text or generally contains lament (expression of feelings) about love and no squalor of life. Because it is both more concerned than song lyrics. The second song of the first did not have the number of rows which remains as sung spontaneously. There are times when the 4 lines (poem structured), 5 lines, 6 lines and so on, but there is a tendency in the later development of structured rhymes. For 'ende ungut-ungut' rhyme 'ab - ab', where the first line and the second is 'sampiran' (‘figures of speech’), being the third and fourth lines are the contents. The text is structured sitogol rhyme (or not) as well as a whole tend contents, without any 'sampiran'. 

In the text ‘ende ungut-ungut’ and ‘ende sitogol’ there are many words, like 'mada', 'ile', 'baya', 'da' and others that do not contain meaning (meaningless syllables), which is the same position with the word 'lah', 'kah', 'yang' or 'wahai' in Indonesian. The words or syllables are used to support the ‘artistic effect’ and sometimes to adjust the number of syllables in each 'range of melody' (phrase)  It 's like the first one formulated by cultural Drs. Z. Pangaduan Lubis in the paper: "Studi tekstual Dalam Jeir: Suatu Pengamatan Awal” presented at the Ethnomusicology III of 1987 at the Faculty of Letters USU Medan.

When considered in the arrangement or number of syllables sung for each 'spanning melody' (phrase), did not have the same amount. This situation shows that the number of syllables for each range of the melody is not binding by default. It can form sentences long or short otherwise in any stretch of the melody. Adjustment long or short sentence in any stretch of the melody when singing the 'ende sitogol' or 'ende ungut-ungut' depends on 'expertise' singers (called 'si parende') itself. But one thing should be noted that both the ende should not be in public and also in any place because it was considered inappropriate (taboo). A young man who sang 'ende ungut-ngut' and 'ende sitogol' in front of the audience will make older people feel offended and the young man will be scolded or even face slapped by parents for being brash (do not have manners or ethics) and said : "na rumo!" this implies that 'desires or personal interests' should not be openly in public.

Musical aspects

'Ende ungut-ungut' is a solo sung by a man with a moderate tempo, melodic style that has a static (heightened speech), without a meter (heterometris) and usually as an accompaniment is a wind instrument like a ‘suling’ or ‘salung’ (both flute). While 'ende sitogol' also sung solo by a man with a moderate tempo, sometimes interspersed strains wind instruments called 'olanglio' ('uyup-uyup durame' with a magnifying volume loops palm leaves called 'pokak', and occasionally with 'dosik' (whistling). Besides, 'ende sitogol' has cantur melodic ascending (rising) and also without a meter (heterometris). fundamental difference between the two, where 'ende ungut-ungut' sung - fish with weak - soft , otherwise 'ende sitogol' sung loud enough (shouted) as sung from the top of the hill in order to be heard idol girl who was working in the fields located in the valley of a small hill where he sang 'ende sitogol'.

Both 'ende ungut-ungut' and 'ende sitogol' tend strophic form because they are always repeating the formula (form) the same melody but with a new song text. According RizaIdi Siagian. M.A. (never be Chairman of the Department of Ethnomusicology at theFaculty of Letters USU) that music (vocal) is called 'Logogenic'. This means that the text prefers singing to express musical ideas rather than satisfaction aspects.

Tentative conclusions

'Ende ungut-ungut' and 'ende sitogol' is a folk song of Mandailing people (referred to only by their ‘ende’) consisting of the words and the songs (music composition), which is the traditional form because there exists in Mandailing society since the beginning until now. Also has many variants and circulating orally in Mandailing community.

Both types Mandailing folk songs can be categorized into lyrical folk songs that are real (see: James Danandjaya 1984, 141-53). Because the lyrics express feelings without telling a story that is serialized, and predominantly express feelings of sadness, despair at the loss of something, or love that depict human desires that never materialize. (EN)

Gandoang. March 3, 2014.

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Music and Taboo

'TABOO' IN CONNECTION WITH 

SOME KIND OF MANDAILING 

TRADITIONAL MUSIC

by Edi Nasution

PROLOGUE

In the Western world cleavage, we are always entertained and delighted by hearing the ‘sound of music‘. Whether it be heard over the radio or while watch a musical concert, where the 'music' itself is usually considered solely as an art form (‘pure arts’). While in the Eastern parts of the world, just as in the Western world, music has indeed been practiced since ancient times. In both parts of the world (Western and Eastern), the music is associated with, or equally feel that something of the ‘power of music’.

But in the Eastern parts of the world, the music can appear in the routine of daily life while working in the rice acreage or in their gardens, in various forms of traditional ceremonies and rituals such as weddings and deaths. For them (oriental), the sound of the instruments and the human voice more than just a product of creativity of a group of musicians alone, because (music) that very closely related premises supernatural world such as playing a 'gordang sambilan‘ (music ensemble) when droughts occurred in ancient Mandailing which aims to ask for help the spirits of their ancestors to immediately lower the heavy rain from the sky, so that local residents can work on the rice fields to grow rice as their staple food. Farther from that, in playing some kind of 'musical instruments' or  ‘singing’ in particular Mandailing very closely related formerly taboo.

Perhaps you feel surprised (rather shocked) when stated that 'whistling' just 'abstinence' (taboo) for the Mandailing people do it at home. When their children ask: "Aso ?" (why?) Answer from the parents: "so binoto ho, ro naron ulok !" (snake coming later, you know !). Always did the lads caught whistling in public gets a ‘mockery’ of the grown-ups says: "Amang, na posoma ilala ho, Lian !" (Wow, you really flirty once, Lian !), at once given the gift of knock "tuk" at the head of the teenager, who then dodge away, grimacing in pain. A young man who sings ‘ende sitogol’ or ‘ende ungut-ungut‘, as well as playing a wind instrument such as ‘tulila’ in a ‘huta’ (a place of settlement) will get a harsh reprimand. It could be a 'slap' in the face of the young man's land by certain people feel offended by it. Coupled with the slur: "na rumo" (a lot of behavior) or "na so marbaso" ('not polite'), and the more extreme the charge of "na so maradat" ('not habitual or immoral'). Yet another case with 'margondang' tradition, which plays  ‘gondang dua’ (‘gondang boru’) ensembles music in the context of the traditional wedding ceremony (called 'orja siriaon' or 'markaroan') for example is always lively in the 'huta'. Of course, the above concise overview may interest us to know more about why ancestors Mandailing make such prohibitions in the context of some traditional music.

'SI (DA) LIAN' AND 'SI TA (TAR) ING'

The 'taing' word is the name given to the Mandailing 'girls', while the 'dalian' or more commonly referred to by the 'lian' or 'dali' word only intended for 'boys'. From birth to their already implanted Mandailing cultural values​​. Although sometimes 'means' used by older people in applying cultural values ​​that for 'us' (outsider) may seem a 'bit weird' (odd). Then like a boy whistling in the house always intimidated with the threat: "ro naron ulok".

The whistle ban is emphasized to their children, even more so for girls. Every parent will feel embarrassed if they will be aligned girls other community members as 'anak gampang' ('bastard'), which is a term for a child born without a valid marriage despised by the Mandailing people. May act as a cognitive whistling is an emotional expression that leads to the symptoms of early sexual behavior. The fact that sexual problems are very 'taboo' expressed and discussed openly in Mandailing society. Then attempt to scare the children early are expected to eliminate or at least dampen the bad behavior so as not to produce 'hahaila' (shame)  and 'tilako' (licentious acts) or even 'bala' ('havoc') in the future.

Relevant to the phrase "dari kecil teranja-anja, besar terbawa-bawa, sudah tua terobah tidak" ('habits in childhood lasts until adulthood, can not change after old age'), of course people do not want their offspring Mandailing familiar with behaviors considered unethical. Including, whistling in the house essentially is an attitude that is deemed not appreciate nor respect for the parents and siblings. Conversely, if contemplated more in mind that the ban on whistling in the house was also to maintain and enforce its existence. As a candidate for the next generation, then his actions in later social life must be guided by and reflect the culture values ​​sublime, which constantly maintain and uphold them.

For this reason, their ancestors are fully aware of how important manners in social life, so they have created procedures for interaction between the members of the typical individual  namely 'baso' and 'sangko', in the hope of norms is useful to maintain socio-cultural harmony Mandailing people in each 'huta' or 'banua'.

MUSIC, ETHICS AND SOCIAL SYSTEM

Mandailing tribal residing in the District of Mandailing Natal (MADINA) has its own cultural value system they usually refer to as "adat dohot ugari" (tradition and implementation procedures). As for customs operationalize it as a stylist activities of community life based on noble values ​​that guided namely "olong dohot domu" ('affection and unity'), they create a social system called 'dalian na tolu' ('tree pillars'). Social system of Mandailing people is called 'dalian na tolu' because it has a mechanism of social systems that devote their lives to the three functional elements, namely three kinship groups, each of which is named 'mora' ('the giver girl'), 'kahanggi' (brother of the 'clan') and 'anak boru' ('receiving party girl).

The realization of these three functional kinship groups because of the relationship of marriage (affinal relations) and the relationship of blood (blood ties) among Mandailing people who has a clan like: Pulungan, Lubis, Nasution, Daulae, Rangkuti, Parinduri, Matondang, Batubara, Mardia, Lintang, and so on. They set the kinship system by grouping people who have a common grandfather (called 'ompu parsadaan' such as Si Baroar for Nasution clan and Namora Pande Bosi to Lubis clan) and adopts patrilineal system (father's lineage). While the tradition of marriage between them (men and women) are 'exogamy clan', meaning that every person should marry with people outside his clan and tend to take the "boru tulang" as prospective wives (unilateral cross-cousin). Initiative to propose a girl coming from the man who would apply for the girl and after the marriage the bride and groom are generally settled in the village of the groom ('virilokal'), and this tradition as they are called "adat manjujur​".

As a system, containing 'dalian na tolu' customary paradigm balance to maintain its unity. So 'dalian na tolu' has normative foundation contained in the traditional phrase: "sangap marmora, 'elek maranakboru, manat-manat markahanggi" (honor and glorify mora, anakboru loving, and among 'kahanggi' should always be cautious), is the duty and the right of every person to live together in Mandailing. With the tradition of 'exogamy clan' that allows the status and role of each person Mandailing it sometimes as 'mora', 'kahanggi' or 'anak boru'. So if the kinship system was studied in all 'huta' in Mandailing will show us that the system similar to the nets of a mesh which has narrowed and widened up and down the length. Symbolic of this reality etched in decoration 'tutup ari' exist in 'sopo godang' (customs convention center) and 'bagas godang' (king's palace), the form of dozens of forms 'equilateral triangle' are arranged in a neat and beautiful (called the 'bindu' or 'pusuk ni robung') with a composition of colors: na rara (red), na bontar (white), and na lomlom (black) are very meaningful in the Mandailing community as an ethnic group in Indonesia.

All Mandailing realities and cultural activities presumably derived from and organized by the cultural value system that is closely related to 'dalian na tolu' or markoum sisolkot custom, so that any Mandailing music tradition as a sub-element of culture can not be separated from the domination of indigenous they were. So in the context of extracting traditional cultural values ​​with respect to the musical culture of the Mandailing is also the preservation effort. Because cultural values ​​are usually useful to give direction and orientation in the life of Mandailing people.

Mandailing social life characterized based on the courtesy (ethics) called 'baso' and 'sangko'. Each individual must respect for others in order to achieve harmony among their lives. Two members of the public who are subject to social norms 'baso' should be concerned and implement the norms prevailing custom. For example, we (male ego) should not be stared at each other and talked a long time with the wife of our brother, and speak only as needed. To reduce the contact between 'amangboru' with 'parumaen ('daughter-son') then also created a tradition called 'manjae' or 'mangasing', where a month after the wedding the bride and groom are usually moved into their new home in 'huta' (place of settlement) the same, or it could be still close to the homes of the elderly man. In line with this, the 'babere' ('the man's son') will not want so long at the uncle's house ('tulang' or 'mora' home) that no other because of its concerns that 'baso' problems too.

If social norms are violated can bring 'hahaila' (shame) or 'ila godang' (big shame), which can degrade the dignity of the person and large family. 'Baso' norma is only valid for the different sexes (male and female) because of the marital relationship. The 'parbasoan' ('baso') of person (ego) are as follows:

1). Ego (men) to the wife of the brother bladder;

2). ego (woman) against the husband of sister and brother bladder, vice versa;

3). Ego (male) to the wife of 'uncle' ( callled 'tulang' or 'mora');

4). Ego (woman) against the husband of 'namborboru' is 'amangboru';

5). Ego (men) to women who have the same clan with him called 'mariboto';
6). Ego (women) to men who have the same clan with him 'mariboto'.

A more detailed explanation can be seen in the following figure:

'Sangko' word in the context of social ethics is more or less means "the people that we must respect and appreciate". For example, we should have 'sangko' to our own the father (called 'amang'), 'amanguda' (younger 's father), 'amangtua' (brother 's father), 'ompung-ompung' or 'tobang-tobang' (the elderly) because they should be considered as our parents also, so too we must has 'sangko' to 'na mora-mora' (nobility) and 'na toras-toras' (the intellectual leaders of clan), and so on.

At the beginning of this paper has been presented that any adult or prohibited sing 'ende sitogol' and  'ende ungut ungut' on in public (in the 'huta'). Because the contents of the two types of 'ende' (songs) that generally depicts expectations or failures of romance and the livelihood 'si parende' (singers of 'ende sitogol' or 'ende ungut-ungut') itself. The content of the songs that sometimes contain words advances towards a girl. Similarly, playing a wind musical instruments such as 'tulila', 'sordam', 'salung', or 'genggong' (jaw 's harp). Because in addition to the normally used to seduce women, can also be used to remove the 'troubled-ridden' (called 'arsak ni roha') of people who play music (singing)  One time he might be afflicted with "out of love for her unrequited idol" or complain of livelihoods that are less fortunate. Nutshell, 'vested interests' seem to arbitrarily not be disclosed in public.

Although some instruments ('tulila', 'sordam', and 'genggong') above is often used as a tools when 'markusip' by a young man, but in 'markusip' tradition (a tradition dating between young men and girls were whispering with walled houses) that takes place at night it always starts after midnight and has its own rules of the game. In the tradition of 'markusip', hich took place in the middle of the night usually resident 'huta' had slept soundly and wind instruments ('tulila' or 'gengong') who played it has a volume of very small-roughly as 'sora ni rongit' ('mosquito sound'). And this 'markusip' activities take place in secret and should not be heralded to the public, because it is considered unethical.

A virgin who plays 'uyup-uyup bulung tarutung bolanda' at any time during the day in the 'huta', would do so if he felt confident that all the 'huta' population (adult) had to go to work the their fields or gardens each, so that no one knows his actions that, for a virgin is taboo express emotional feelings in the midst of its citizens. He would do it by himself in secret anyway.

The idea to express love through taste how many songs and musical instruments be above is taboo for Mandailing people do it in 'huta'. Due to issues of love and sex according to their unethical disclosed and openly spoken of publicly. In the rural community that there are people who should be respected and rewarded in connection with 'baso' and 'sangko' noms that must be obeyed by everyone.

When a young man time has come to have a household (married), then he may wish to discuss it to certain people who usually are 'amangboru'. And both parents and 'kahanggi' as well as counsel for the 'anak boru' to apply girl to the her parents and big family. Subsequent ceremonies in formally have done their customary set up to the completion of the traditional wedding ceremony.

On the other hand, the content of the text 'ende sitogol' and 'ende ungut-ungut' tend to have sad character because it is a sad lament about the miserable (poor)  According to them, the rhythm of the passing game generated melody of 'salung', 'sordam' or 'tulila' flute also reflect the same things. While the social status as male-law-men (called 'babere'), very reluctant to declare a state of life that miserable (poor) to 'uncle' ('mora' or 'tulang'), although without passing formal singing or musical instruments. Because it would bring shame to himself because it can lower the status and dignity.

Another case when the uncle himself pleased reached out (giving help). Because every 'babere' generally very keep and maintain his dignity. Besides his position as 'babere' must also 'sangko' and 'marbaso' to 'uncle' ('mora' or 'tulang'). Perhaps it is precisely such circumstances that limit the desire of every individual in Mandailing society to express openly misery to the people. And fellow Mandailing feel obliged to warn each other about meatballs and sangko norms in their social life. In this connection, if someone wants to spill all liver wedge ('ni arsak roha') through the 'music', then he would go to a lonely place in the woods, in fields, in gardens or to the riverbank. We can hear the songs of both types and/ or strains of a wind instrument of the deserted places, but the figure of people who do not ever seem. When the activity of singing or playing a wind instrument was visible to others, usually the '.music' was stopped because there was a sense of shame.

All was done because our ancestors (Mandailing people) realize how important manners (ethics) in socio-cultural life, so they have created ordinances or interpersonal interaction the guidelines are quite specific ie 'baso' and 'sangko'. It would be useful to maintain the socio-cultural harmony Mandailing people.

'GONDANG', RECIPROCITY AND 'OLONG'

When we witness the music ensemble 'gordang sambilan' and 'gondang boru' played on a traditional wedding ceremony in a 'huta' for example, it is not hard to guess that the family that organizes weddings 'haroan Boru' it must be a descendant of the kings. For example, marriage party 'anak ni raja' could have lasted for seven days and seven nights and 'gondang' (music) sounds continuously  Turns 'gondang' is precisely what distinguishes 'orja' (traditional wedding) between descendants of the kings and the majority (called 'alak na jaji' or 'si tuan na jaji').

Likewise, the power of a king in Mandailing not absolute. Because of the major role in determining everything that concerns the people's interests are 'namora natoras', is traditional leadership in Mandailing as representing the people (Parliament ?). All of decision  and wisdom 'raja' always based on consensus (mutual agreement) with 'na mora natoras' in sopo godang is not walled, so that all person in 'huta' can hear and see the process and the results. Thus it is clear that the system of government in evey 'huta' in Mandailing is very open and democratic. A 'raja' said to be 'marsomba ibalian marsomba ibagasan' (he is worshiped and worship of the people. In addition, 'raja' also likened 'ayu na godang parsilaungan' (as a place of refuge), 'partalaga na so hiang' (food supply is always sufficient), and 'parsaba na bolak' (rice acreage owners are very vast). In the past, people always get the king's protection, which can be held at any time help.  

While the vast rice fields of the king was in fact also belong together (people) have worked together by the people, who Then yields collected on granary (called 'opuk' belonged to the king. If the people shortage of food (rice),  then a king at all times ready to share the contents granary rice to the people, "because after all there because the king as a leader appointed by the people" (marsomba ibalian marsomba ibagasan').  When people lack of food, then a king at all times ready to share the contents of his granary to the people, because after all "no king was appointed by the people" ('marsomba ibalian marsomba ibagasan'). Behavior of a king in advance is always put the interests of the people, it also protects and protect the people. Instead people cherish, honor, glorify and uphold the dignity of their king ('nai pagodang-godang sahalana na i jujung-jujung tondina'). Thus customary marriage ceremonies was once 'anak ni raja' with all its attributes including 'gordang Sambilan' and 'gondang dua'is a reflection of the attitude to those who help each other simultaneously and in need, all of which were oriented to 'olong, arumbukan dohot domu' (love each other, and agree together united).

EPILOGUE

We often hear people say that "talking about Mandailing will always be associated with Islam". The starting point of thinking that because the majority of Mandailing people are devout followers of Islam. This fact can not be ignored, because the religion of Islam has been entrenched in almost every aspect of their lives. Consequently, a variety of traditional cultural activities as a heritage they have left because they were considered quite contrary to the teachings of Islam; washed old religious system (pelebegu) those who worship spirits or delicate creatures that dwell in the mountains, big trees, various forms of sculpture, caves, rivers, and others. Similarly, the tradition of 'eksogami marga' (exogamy clan) getting loose so it's been a lot going on in the marriage between Mandailing people who have the same surname ('incest'). Likewise, all of it actually happening as usual 'culture', was a 'process', 'ideas' and are dynamic also ?

However, the values ​​of Mandailing cultural tradition is not at all in conflict with the teachings of Islam. Even be said that the teachings of Islam that further clarify the usefulness and nature of cultural values ​​Mandailing tradition itself. For example, the existence of social ethics 'baso' and 'sangko', it may not come from the teachings of Islam (in this case needs further research). Because if someone is violating the norms 'baso' or 'sangko' that we never hear charges of 'na so martuhan' (atheist) or 'na so mengingot tuhan' (do not remember the god), but always with charges of 'na so marbaso' or 'na so maradat'. Since a lot of Mandailing traditional cultural values ​​that do not conflict or in line with the teachings of Islam, so it is not surprising that in the midst of society we find the phrase: "adat ombar dohot ugamo" and "ombar do adat dohot ibadat". That is to say, the custom side by side with religion. That is, customs side by side with Islam.

Gandoang . February 24, 2014.

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