G o r d a n g

GORDANG: PREHISTORIE MUSICAL 

INSTRUMENTS MANDAILING 

By : Edi Nasution (ethnomusicologist)

PROLOGUE

In all human societies universally music is indeed one very important aspect. Music in human life is not just a recreational activity or mere entertainment, but also used for a variety of reasons ranging from indigenous interests and rituals like the birth of a child, a child celebrating weddings, and respect for the death of a parent; ask a blessing and an expression of gratitude to the ruler of the universe; to the preparation for war and seduce a girl at night. Uniquely, every ethnic group in the world at large have concepts, rules and procedures in making and using music. For what and how music is used (produced) in the context of the respective cultures of ethnic groups, is partly a pretty interesting question to be answered by people who wrestle in the field of study etnomusikologi.(1) 

Not a few people who say that music is a "universal language" because "music" can be understood and enjoyed by anyone who lives on the surface of our earth. But in the context of traditional musical culture of every ethnic group in the world, such a view was not apply.(2) Because the function and meaning of "traditional music" that is owned by an ethnic group can only be fully understood by the citizens of the ethnic group in question. To be able to appreciate the traditional music, at least we (outsider) must understand the two main components of any ethnic group culture, language and traditions of the music.

Every ethnic group in the world generally use "language and music" as "means of communication". To express the feelings and thoughts of men , the language uses words as the medium, while the music is on a combination of words (usually in the form of poetry) and rhythmic-melodic component to communicate.(3) Sometimes even music can be used for communication levels deeper, like to express things that can not be said to be directly due to the moral and ethical considerations. That is why the role and function of music (through poetry and rhythmic-melodic) becomes very important in conveying expressions of their feelings and thoughts about a variety of things in relation to the life of this world and the hereafter.

Although it is true that ( instrument ) music is considered the oldest "human voice" itself, but human beings from all over the world and in various stages of the history of their civilization, it also creates music using a wide variety of materials, among others, of the bones, skin and hair of animals, wood, bamboo, shells and other materials are available. While among the experts and some enthusiasts who admire the ancient musical instruments still debated about musical instruments that are considered the oldest in the history of human civilization.  In this case, there are some important things to note before we get too far steeped in history persolan musical instruments are considered the oldest in the world.

First, the similarity of modern musical instruments and contemporary music with some of the artifacts depicted in the painting and or ancient documents, thus making many people believe that there are several musical instruments that are now used in thousands of years ago. But the problem is that in many cases, there is no historical or archaeological evidence which shows that the ancient and modern musical instruments (contemporary) were identica.

Secondly, some of the modern or contemporary musical instruments are considered as "descendants" of the ancient musical artifacts. This assumption is acceptable considering the number of musical instruments such as drums and flute. Some of the musical instruments that exist today are constantly still exist ranging from thousands of years ago, where experts traditional music, history, and archeology still continue to gather evidence to support their claim.

Third, in relation to the archaeological findings over the musical instruments of ancient tradition that at one time been used but could not withstand the challenge zaman(4) by the influence of internal and external factors.

PERCUSION ANCIENT MUSIC AS A TOOL

Musical instrument is a special device that is used by humans to create music.(5) Based on remarks in mind that human history has been making musical instruments from a variety of materials, ranging from the very simple as the use of a leaf vegetation(6) in times past to the manufacture of construction of musical instruments with a very complex and sophisticated as modern-day syntisizer. Although no historian of ancient musical instruments that can ascertain exactly how long humans have begun to realize that the "voice" or "sound" can be converted into a form of music, but with the discovery of some ancient musical culture artifacts such as Egypt, China, Indian, Roman and Greek, which was then widely publicized as a result of research, this clearly indicates to us the existence of musical instruments at the time.

David Zed also agreed that "human voice" is a "musical instrument" the first one used in the history of our civilization. Even if a number of anthropologists and history found the very first musical instrument was the "percussion", it actually contains speculation. For percussion devices such as legs, arms, stones, sticks and wood that appears on the evolution of second music.(7) When humans develop equipment for hunting and agriculture, by having knowledge in addition to skills, thus enabling them to create more complex instruments, such as the "slit drum" made of wood hollow.(8) In this world, a percussion instrument already in existence for thousands of years in every culture and has been used by mankind in various ways , such as communicating with neighboring communities, to accompany dance, and to facilitate the ceremonies and ritual.(9) in addition to the human voice, percussion instruments (percussion) is one such drum an artifact of the most fundamental and important.

There are many examples around the world of drums used for religious , entertainment or as a means of communication. For example, in Africa, where music is an interpretation of human life, the drum they use as "speech". In this case, the pattern of beats played in a certain way to communicate large amounts of information. In certain parts of Africa, drums are highly respected, and also given entity and gender. Because of the simplicity of its design from the beginning so that the drum has remained unchanged for thousands of years, is the oldest existing instrument until now. The world's oldest drum was found from the Neolithic age (6000 BC) .(10)

In Mandailing turns tano (land) is not only used as a place to grow crops in the fields, but also used as a major component of certain musical instruments to musical sound, namely gordang tano. To make this tano Gordang hard soil excavated to the size panjang 3 meters, a width of 25 centimeters and a depth of 40 centimeters. Pit sealed with thick thin board two (2) inches, thus the pit serves as a resonator to produce sound resonance. Then on both ends of the hole immersed hardwood pegs, and fine old rattan, which is used as a string, the horses crossed over the hole was covered with boards. With the bat (stick) for thumb length is about 30 centimeters, as many as five players are beating the strings with the technique and a certain rhythmic patterns. In this gordang tano, one acts as the "master" ("leader") who played on the greatest sound, while the four other musicians are in front of that acts as panduai ("follower").(11)

GORDANG TANO

Rizaldi Siagian, an ethnomusicologist who once led the Ethnomusicology Program at the Faculty of Letters USU, by chance found the back of the gordang tano music while working with TVRI Medan Cultural Package titled "Gondang" which will feature some of the traditional music of South Tapanuli for local broadcast. A farmer in Tamiang - Kotanopan (Mandailing Julu) that will be recorded to play a wind instrument uyup-uyup of coffee leaves, a sudden illness it must find a replacement. By chance a citizen of another Tamiang named P. Lubis tells about gordang (tano) who once told by his parents to him, other than that he said he also never played gordang (tano) for ritual mangido udan (ask raining).(12)

Based on observations Rizaldi Siagian, strings (rattan) is played by the players that create the most complete and sound rhythm exact string bass giant. It is estimated gordang tano classified musical instruments when he was old enough in terms of character traits and its rhythmic patterns, melody and repetition in a tone that is very limited. This is consistent with the theory of evolution proposed by Curt Sachs in The History of Musical Instruments (WW Norton edition, 1940) with respect to the characteristics of prehistoric music , where the music of that era are still in the process of stimulation to create melodi.(13)

One of the community leaders who had served Mandailing USU Rector, Prof. Dr. Adi Putra Parlindungan Lubis (derived from Pakantan), estimates Gordang over 300 years old. Gordang has been known for more than four generations in Mandailing, where gordang used in ritual ceremonies mangido udan (bring rain) and serves to evoke the spirit of the pertempuran.(14)

MUSIC AS A COMMUNITY FARMERS GORDANG

In Mandailing are found of settlements called Huta. Huta names in the region Mandailing Julu include Huta Dangka, Huta Pungkut, Huta Godang, and Huta Padang, while Huta Namale, Huta Bargot, and Huta Siantar contained in Mandailing Godang region. In a huta usually there are also places of human settlement called Banjar; slightly larger than the banjo is called Lumban, and Pagaran is larger settlements of Lumban. In the past every huta has jurisdiction and self-government of autonomous systems. Leader customary (traditional) on each huta is Namora Natoras(15), which is headed by a king named Raja Pamusuk. While a combination of several huta, as development (fraction) of the "huta induk" which same(16), called the pact is a "little kingdom" led by Raja Panusunan Bulung. Such as the Kingdom of Tamiang(17) in Mandailing Julu formerly led by Raja Panusunan Tamiang Dolok Patoean Dolok III (1932-1946) includes 14 (fourteen) "huta child" is Tobang, Botung Dolok, Botung Julu, Botung Lombang, Gudang Botung, Muara Botung, Husortolang, Patialo, Pagaran Dolok, Muara Tagor, Huta Dangka, Huta Pungkut Jae, Huta Pungkut Tonga, and Pungkut Huta Julu. Each kingdom (small) in Mandailing have customary convention center called Sopo Godang, which is located adjacent to Bagas Godang is used as a residence (home) of the king.

People who live as citizens of the community in Mandailing huta generally are farmers. To be able to meet the needs of their everyday lives grow rice in paddy fields and gardening. But not all citizens have the rice fields around their homes because of the limitations of the rice fields in every Huta. Therefore they open the rice fields in other places though a bit far from the settlements. Even some residents who huta rice planting in hilly areas called marhauma. Besides planting rice in the fields, they also grow crops such as corn, chilies, tubers, legumes and vegetables. Among them are some who lived (living) in there to keep the plants that are not destroyed or devoured by wild animals such as monkeys and wild boar.

Some people who were old enough she was never told that their ancestors first settled in the hills actually called tor. However, in the later development of their ancestors took to the hills and valleys in the lowland rice growing their ancestral rice fields with irrigation systems that water is sourced from the stem (river) or aek (tributary). Furthermore, they build houses and settle and reproduce in situ, which is becoming increasingly crowded, until it became a place of settlement (village) new. Description of the old people can believe the truth considering the many old settlements in Mandailing called Lobu or Huta Lobu. In Huta Lobu can be found the graves of old as the burial place of their ancestors in advance, such as a particular area called Mandala Sena in there Banua Maga as Huta Lobu of Rangkuti clan.

In rice farming activities in the field (marhauma) is, and also to plant crops, required a special tool kind of "drill". It is made from a piece of wood, a length of one meter and a diameter of about three to four centimeters, and at one end sharpened that point to make a hole in the ground. In Mandailing, this tool is called ordang, and the planting of crops (crops) is called mangordang. In conjunction with this activity mangordang one traditional expression (called uling-kulingan) in the form of questions and answers that are quite popular among teens as follows :

A : Uling - kulinganca, taksipatuktak tolu do indega , aha mai ?

B : Anca , Alak na mangordang !

Taksipatutak tolu do indegena words do indegena contained in uling-kulingan attracted our attention when the pronunciation tends to be rhythmic (musical), all the more so given the tradition of the music is Mandailing oral tradition, which in theory and practice (teaching ) just delivered orally, from mouth to mouth. As said Rizaldi Siagian : "All valid oral and informal , ... Unlike in Java and India . Although oral , her music teacher has a formality in the process of teaching. So , I had to reconstruct something that is abstract , because the rhythm patterns stored in the minds of musicians"(18), that is expressed when by chance he rediscovered music Gordang tano as one Mandailing prehistoric musical instruments in Tamiang. In this case, the words taksipatuktak toludo indegena can transcribed (subjectively) to find out the rhythmic pattern contained in it as follows :

Rhythmic patterns contained in the words of taksipatuktak tolu do indegena however, does seem very simple because it is leitmotivic ( small motifs ) with four notes triplet.(19)

Likewise, not a string of rhythm (music composition) long and complex it is generally constructed using motifs that are relatively small with varying cultivation anyway ? No doubt about it because it's pretty much a fact which shows that in the game with a string percussion instrument (sound) that is long and complex rhythmic it is commonly found motives underlying small. Exactly, pengidentikasian small motifs are very important in order to understand how the little motifs strung and with variations also it creates a rhythmic structure (music) is quite complex. But if we can only identify the motifs alone, though good to hear and feel and are considered unique, it's not going to give you a better understanding about the music itself, all the more traditional music that is owned by an ethnic group not only serve as mere entertainment. Using traditional music in the context of ritual mangido udan for example , a variety of functions , among others, as a symbol, a means of expression and also as a tool emosial komunikasi.(20)

In terms of language, words and Gordang ordang literal meaning is not the same, but both are "tools" that are both made ​​from a piece of wood and is very useful for people Mandailing. Ordang is a tool that is used (a kind of "drill") to make a "small hole" on the surface of the soil and plant seeds to it inserted and then covered with soil, while Gordang is a musical instrument that is struck (percussion) as gordang tano (chordofone) and gordang sambilan (membranofone). From the other side, for example, of the root may be found a close relationship between the two terms.

The root of the word "gordang" is "gor" and "dang", while the root of the word "ordang" is "or" and "dang", where they both have the suffix "dang". Some words that use the suffix "dang", which has to do with the word "ordang" and "gordang", namely : "godang" (great) , "desert" (reeds) , and "lidang" (straight). In this case, gordang sambilan consists of nine pieces of "big drums" (drum chime), and one that is often played gondang repertoire in traditional ceremonies are padang na mosok (hythm burning thatch or roba na mosok (ang scrub burned) (21), while the "ordang" are considered to be good is made ​​of wood that is straight. For the root word "gor" to "gordang", meaning "light". The root of the word "gor" is also present in a number of words such as: "gorgor" (the burning ) and "tagor" is a sacred statue found at ancient burial area called lobu or huta Lobu, which at times will sound jarring (as sign, such as Gordang sound when played) will no nobility would die. While the root of the word "or" in the word "ordang", also found in other words as words: "por" (strong desire, heavy rain), "tapor" (broken), "matuporpor" (thrashing around like action often performed by a shaman figure Sibaso in every ritual ceremony), and "siapor" (grasshoppers) are occasionally jump fly more or less like that occasionally performed by "panjangati" (master drums) who play two or three greatest gordang named "jangat". Based on the above description, the definition of the word "gordang" is a great musical instrument that is played more and rumbling sounds.

People who live as citizens of the huta community in Mandailing in based Dalian Na Tolu customs also called custom Markoum-sisolkot. They divided themselves into three functional kinship groups, namely mora (poster girl), anak boru (receiver maiden) and kahanggi (brother-sister whose surname the same or also called sisolkot). In accordance with the position and role of each of the kinship group in the social system of Dalian Na Tolu, described as mora ulu bondar (source water of life), the anak boru is sitamba naurang siorus nalobi (add much less reduce), and kahanggi or sisolkot jait domu- domu is that unite or as an intermediate group (intermediate) between kinship groups mora and anak boru. In this case, each individual person at a time Mandailing serves as mora, but at other times can also be located as anak boru marriage because of the relationship between the two , and on other occasions can also be located as kahanggi have to be related to the air-together with his clan. People Mandailing air-same clan have a common grandfather called saompu parsadaan like Sibaroar for Nasution clan and Namora Pande Bosi to clan Lubis.

Gordang sambilan as the Mandailing traditional music, first played at various ceremonies and rituals. As in traditional wedding organizing orja haroan boru (also called orja markaroan boru), although not everyone has the same skill level , but the people who are already adults should play it, but play the biggest Gordang which hides because only Alak namalo mangatak mangetong ("the are good at organizing and counting0") are allowed and able to play, namely the Natoras Namora, Raja Pamusuk and Raja Panusunan Bulang, because only these are considered to have a broad and deep knowledge about the customs Mandailing. In addition to the hides, on the gordang sambilan also called udong- kudong, paniga and panulus each played by one player.

In building rhythm sound (music) on the gordang sambilan game, the first one is the player hit gordang (udong-kudong) with holding a wooden stick in his right hand and a wooden stick in his left hand again. Generally, "first blow" committed by players udong-kudong is to use the right hand and the left hand is used to perform a "second hit". Once players hit gordang (udong - kudong) continuous and constant, then the player panulus then followed by taking the " first beat " in the " first blow " ( right hand ) and the "second hit" ( left hand ) from a player udong-kudong in continuous and constant as well. . Furthermore, following the paniga player who also hit gordang by taking the "first blow" in the "first blow" of panulus and "second hit" of udong-kudong, while for the "second hit" paniga taken from the "second hit" of panulus and "the second blow" of udong-kudong. The combination of punches from all three players gordang (udong-kudong, panulus and paniga), which played constantly and continuously to produce a particular rhythm pattern, that it contains a small motifs shaped triplet.(22) For more details see the description below this:

After three pargordang (gordang player) that can play the full compactness, harmonious and harmony, which in the language of Mandailing called domu, then later gordang player hides (panjangati) hit two or three of the greatest drum which hides. In keeping with the tradition of music Mandailing people who are oral (spoken) , there are some "expression" or the words "figurative" (metonymy) (23) which is quite popular (but seemed humorous) in connection with the " sound Gordang " panjangati played by , among others, : "godang-  godang korot-korotan na i - godang godang baen korot-korotan na i" (large for meat cutlet 2x) , in the context of the traditional wedding ceremony , for example by cutting animals such as buffalo victim called longit. There are also figures of speech are also quite popular in relation to the musical sounds of the game produced three minor gongs (called baby) is "gule torung gule torung gule torung" (eggplant curry 3x). In addition there are figures of speech such as "saba jae saba julu saba jae saba Julu saba jae saba Julu" (rice paddy upstream downstream 2x), "patujolo kecepati patujolo kecapi" (2x prioritizing the soy sauce ) and many other figures of speech.

In Mandailing huta there are many, and the names are there on gordang sambilan, ranging from the smallest and up to large short and long, are not all the same between the huta with the other (24) gordang sambilan game, as described by Jasinaloan (Ahmad Bakhsan Parinduri) in one of his short stories titled "Si Oto Na Bisuk" (2008) as follows: " ... Tai sindok i, gorarna mantong jolma manusia. Nangkon be jolo nidok alak sabanjar na na saluat, Salangkon saamang sainang marbeso do pangalahona. Arambir na pe marnagodang samayang i do, suang muse songon tokok i ni Gordang Sambilan. Pakantan udor gorarna, di  Manambin jogo jogo ningna, ditaan boto pakutili de i idokon dongan. ... " ( But so , his name is also human . Instead of people living together in one row and one Luat , whereas those same mother same father - though distinct personality and behavior. Palm fruit bunch that was not as great , so Similarly, in ways Gordang sideline plays. Wherever Pakantan called udor, in Manambin - called jogo jogo, in our hometown - Tombang Bustak - patukili called by his friends).

Until the end of the 20th century, gordang odd ritual, the scar still visible in public life Mandailing though Islam has become a fad them evenly. In some places still do the ceremony calling of the spirits (called pasusur begu or marsibaso) were strongly condemned by Islamic clerics. Pelebegu in keeping with tradition, the ritual performed ancestral spirits for help in order to overcome a difficult situation, for example when a drought occurs so damaging rice crops population. People who witnessed the ritual mangido udan difficult to argue that they did see heavy rain in the middle of a long drought after the completion of the ritual itu.(25)

At the present time gordang sambilan always played the week before and the day after Lebaran (Idul Fitri) in some huta (26), and also performed in national festivals like Independence Day for the Republic of Indonesia Proklamai annually on August 17 and the National Education Day on May 2nd. It is also used to welcome guests of the local government district Mandailing Natal (Madina), even some sideline Gordang occasions have been staged in several countries (overseas) (27) as "performance art".

PROLOGUE

Mandailing people who know that gordang is "uning-uningan ni na ompunta jumolo sunduti" (music of the ancestors who passed down through the generations from one generation to the next), then they themselves have admitted history and culture. At certain moments and in certain levels also can be gordang become more important and meaningful to actualize himself instead of using a "mother tongue" (Saro Mandailing). In other words, gordang not only reflect who he really is, but also can reconstruct itself kemandailingannya identity. Maybe it's been the case that when someone watching hard rock music performances frenetic, or as he read the gordang words on a book, he's instantly reminded of acquaintances, friends or relatives who live far away ... Tano Sere (Mandailing) in the interior of the west coast of Sumatra island.(EN)

Gandoang. May 24, 2014.

Footnotes :

[1] Alan P. Merriam (1964:7) defines an anthropologist Ethnomusicology as " the study of music in culture "...The data were collected , among others, of a variety of possible link with aspects of human behavior, then these facts can be used to explain why music like that, and why also be used like that. In addition, the music itself is collected, transcribed and analyzed, but there is an emphasis on the role of music as a" social human behavior". A spokesman from musicology expert, George List (1969:195) define ethnomuscology as a study of traditional music, for example music that developed oral (spoken), without writing, and always on the changes that take place continuously (flux). Field work conducted by the research and contextual data collected as music; but it does not need to be fully accepted that the music should be studied just as human behavior. While Marcel Dubois (1965:39), an ethnomusicologist Francis, complete with some basic goals Ethnomusicology, Ethnomusicology which is actually very open to ethnology , although in reality it is the privilege of specialization musicology. Ethnomusicology studying musical life; consider practice their music in a wider scope; The first criterion indicates the phenomenon of oral tradition. Ethnomusicology tried to put back the facts of music in their socio-cultural context, based on the situation in their thinking, actions and structure of a group of people and determine the mutual influence between each other; and compare the facts with each crossing several other groups of analogy individual or cultural level is not the same and ordinances in the community association . See Sadit Stanley (ed), Grove Dictionary of Music and Musicians, (Macmillon, 1980). See also Bruno Nettle suggests that experts ethnomusicology has donated a parent disciplines of science, and their work was based largely on the methods developed in musicology and cultural anthropology. Although relatively new recognized the importance of ethnomusicology data on the history of music, but has no role in the field of musicology in a broader sense, among others, that involves a major contribution musicology experts are eager to understand the whole music, like all human beings , and even music ( if it resembles objects) musical embodiment of the animal kingdom. Bruno Nettl, Theory and Method in Ethnomusicology, (New York: The Free Press, 1964).

[2] See also Espie Estrella who said that "There are a lot of definitions for music and it will take a whole book to explore the subject of music. If there is one true definition of music it is this; Music is universal and yet it is also relative and wiki. What may be music to one may not be so to another ". Espie Estrella, "Introduction to Music Education ", http://musiced.about.com/od/beginners-guide/a/intro.htm.

[3] In a field study of Ethnomusicology, around 1970 there is a development in which a number of experts devote attention to music as a form of communication or a communication system called "Semiotics" or "semiologie musicale". Among the field definition as mentioned by Natties (1974), ethnomusicology is the discipline that attempts to use linguistic models in the analysis of music, or studying music as a system of signs (symbolism), with two types of research that the "system notation" (semiografi) and and "musical semantics" (see boiles, 1967 and 1973). Certainty of the concepts, principles, and research methods of linguistic structures that can be applied to music has published interest from experts in ethnomusicology (for example see blacking, 1971; Field, 1974). The phenomenon of music as this symbol also investigated specifically by Marius Schneider and Werner Danckert in conjunction with magic , worship and ritual. Ibid.

[4] Caribe M, "World 's Oldest Musical Instruments", http://hubpages.com/hub/ Worlds-Oldest-Musical-Instruments.

[5] Wafaa Salman said that the word "music" comes from the Greek " mousiki " which means " the science of the preparation of the melody ". But before 'Ilm al - Musiqa is a term that is donated by the Arabs to the Greek music theory to distinguish it from the  'ilm al - ghinaa which is practically Arabic music theory. The Arabs and Persians have had music theory before the 8th century AD See Wafaa Salman, "History of Music and Musical Instruments", Al - Wafaa News, 1997 , http://www.raqs.co.nz/me/instruments. html.

[6] In Mandailing there is a kind of wind instrument called uyup-uyup made ​​from coffee tree leaf. The leaves are rolled to form a cone, and then inserted into the oral cavity to ring in certain ways and techniques. Type uyup-uyup are usually played by women can also be made ​​from a piece of tree leaves sirzak (tarutung bolanda) and a piece of banana leaf (bulung Pisang). See Edi Nasution, "Uyup- uyup Natarsimo Sian Mandailing", Daily Waspada, 1991.

[7] According to Scott Mickey, a percussion instrument is any object that makes a sound when struck, including the human body itself. As we know that there are three types of percussion instruments, namely membranofon (gendang like), idiofon (like a gong) and chordofon (like fiddle). Although chordofon is a musical instrument that generally creates sound through vibrating strings, but because of the type of stringed musical instrument that is struck is no "hammer" to produce sounds (such as piano and harpasichord), so it is also categorized as a percussion instrument. See Scott Mickey, "What Is the Definition of a Percussion Instrument ?", http://www.ehow.com/about_5035982_ definitionpercussion - instrument.html # ixzz0tRWMjgru.

[8] David Zed, "History of Percussion Instruments " , http://EzineArticles.com/?expert=David_Zed

[9] See "Percussion Instruments from Around the World", http://www.sbgmusic.com/ html/teacher/reference/instrum.html .

[10] Caribe M, "World 's Oldest Musical Instruments", source : http://hubpages.com/hub/Worlds-Oldest-Musical-Instruments. See also Neeley and Seidu wrote that among other things, that "The Dagbamba drumming under study2 is used as a surrogate speech, that is, the tones and rhythms of speech are replicated through the tones and rhythms of different drums. Therefore, the two drums of used can be Referred to as "talking drums".  Dagbamba The drums used in a market context are the hourglass - shaped drum known as variable tension lunga and the double -headed cylindrical drum with a snare called gungon. An ensemble is divided into a lead lunga and supporting drums, the which include the gungon and any other lunga used. The Dagbamba people the make use of a wide number of musical instruments roomates speech serve as surrogates , Including other types of drums, chordophones, aerophones, and idiophones". Paul Neeley and Abdullai Seidu, "Pressing patrons with Proverbs: Talking drums at the Tamale markets", http://www.sil.org/anthro/articles/proverbs/notes.htm.

[11] See "Gordang", Tempo Magazine, Issue: October 16, 1987. Gordang as a unique musical instrument and Pakantan - Tamiang of this, together with other types of traditional music from South Tapanuli been aired by TVRI Medan. Package production station TVRI Medan became the first champion and awarded Slot Kencana Cultural Program 1987 as a package between the stations TVRI in Indonesia. Ibid. It can be added that there is an area in Tamiang named as the place of manufacture udon tano in Siluwak, which is made ​​of stoneware clay. In connection with this tano udon there is a traditional saying that is quite popular in the community is "Tamiang udong-kudong, alak Tamiang tukang udon". The existence of udon -making centers in Siluwak tano it might be related to the civilization Mandailing already relatively advanced enough in the past. Note also the word udong-kudong name one or two Gordang on ensemble gordang sambilan) on the traditional expression.

[12] See " Gordang", Op.Cit .

[13] Gordang Sambilan instruments are also found in East Africa, namely the Nation Mukuayang used in initiation ceremonies to teach women intercourse. Ibid.

[14] Ibid. Repertoire of music played at the ceremony ritual for rain is gondang mangido udan, whereas in the context of war is gondang porang. In this case, the word has several meanings, namely gondang repertoire of music, rhythm or rhythmic patterns, certain types of music, musical instruments and music itself. In general terms "gondang" not equal to "Gordang and Gordang Sambilan as ensemble called saraban, as well as for ensemble gondang dua (also called gondang boru, gondang topap or gondang tunggu-tunggu dua. See " Gondang " , http://edinasution. wordpress.com/

[15] In the institution called the Namora Natoras sitting Kapala Ripe, namely group leaders of people from a marga (clan), or leaders of other communities that are within a huta. In addition there is also the traditional leaders , the ingenious-clever and elder figures in society. The characters that serves as Namora Natoras is representative of the people who together with King organized emocratic governance, including in the administration of justice toward those who do wrong. See Z. Pangaduan  Lubis, et al, set "Release Notes About Mandailing", (Field : Widiasarana Library, 2010), p. 3-4.

[16] According to custom, every king who ruled in one place , always provides the opportunity for family members to go mamungka huta (opens a new area) to another place). Usually members of the royal family who acted as sipamungka huta (opening new areas) in one place will get a position as leader or Raja at the opening of the area. Ibid, p. 5-6. And a fairly detailed description of the marga (clan) see Z. Pangaduan Lubis, "Origins of clans in Mandailing", (Field: Widiasarana Library, 2010).

[17] See Raja Dolok Irwansyah Partomuan Lubis, Patuan Dolok King Panusunan Tamiang Freedom Fighters & Customs and Cultural Preservation Mandailing, Seventh Revision, (New York, January 2010), p. iii.

[18] See "Gordang", Op.Cit. Additional information about Gordang, see Edi Nasution, "Gordang Sambilan: Music and Social Structure", and "Lian ... Palu Gordang i", http://editorsiojo85.wordpress.com/ 

[19] When the rhythm of the building will be considered more thoroughly reveal the structure is so complex and can give rise to various interpretations. One metric structure that emerges is hemiola, or "three to four feet " (in the bars there are 3 bars and 4 bars). In the three groups of four sixteenth notes there are four groups of three - note seperenambelasan (see Example 7). 

Udong - kudong along three groups of four sixteenth - notes are. When both partners this gordang, rhythmically, regardless conjunction with patolu, the impression is four metric induced by metristriplet arrangement (see Example 8). Patolu itself as if the move does not care about his four- meter (4/4), but retains the accents on beats one , two and three in the duple rhythm and flow continue (or break) with a weak punch on all four beats. Thus making the cycles metric between patolu on the one hand, and udong - kudong and panduai on the other hand, be flowing with four beats different. Patolu duple (in metric four quarters, the shape metric in this gondang), with a debilitating blow to the four beats, while udong - kudong three beats in one cycle (at the time signatures 4/4). What is interesting in the "meter ¾".  There are other meters (4) which is taken from both sets gordang movement 's accent. Thus, for udong - kudong and panduai, to return to the cycle of the "right" (ie with the fall of the first beats of patolu and gongs) must travel through twelve beats (in 3 - bar 4/4). See Rizalldi Siagian, "Gordang Sambilan: Traditional Music Ensemble in South Tapanuli Mandailing People ", a working paper was read in Ethnomusicology II Talk at ASRI Surakarta on 7-9 April 1986 , p . 86-87.

[20] A full description of the functions of music, see Alan P. Merriam, The Anthropology of Music, (Evasion III: Northwestern University Press, 1964), p. 221-222.

[21] Another gondang repertoire played with gordang sambilan is udan potir (a thunderstorm), sampuara batu magulang (rolling stones under waterfalls), and moncak (martial arts) .

[22] See footnote No. again . 19 .

[23] Metonymy is a figure of speech in with him. Metonymy in Greek literally means "name change" is taken from the word "meta" means change and "onoma" meaning "name". Metonymy expressive style tends to describe something in a way that is not directly usually with reference to things associated with it.  See: "Metonymy Examples", http://www.buzzle.com/articles/metonymy-examples.html, and Richard Nordquist, "Metonymy", http://grammar.about.com/od/mo/g/metonymy. htm.

[24] See Edi Nasution, "Gordang Sambilan: A Preliminary Observations", paper presented at the "Dialogue and cultural Gordang Sambilanm shows" at Taman Ismail Marzuki (TIM), August 24, 2008.

[25] See Z. Pangaduan Lubis (1990) in Edi Nasution, Tulila: Muzik Bujukan Mandailing, ( Penang - Malaysia, 2007), p. 25. See also among others Margaret J. Kartomi,  wrote : "During the period of animism, the Gordang Part was employed to evoke the spirits of the ancestors Mandailing to come to the rescue of Mandailing society. The ceremony was called paturuan Sibaso (to call upon the spirits to put the Sibaso into trance). The purpose is to summon the ancestors to come to the assistance of the Mandailing people, when afflicted by a plague, for example, gordang Sambilan was also employed to bring down the rain during drought and to stop the rain when bad weather the caused hardship to people". Margaret J. Kartomi, "The Music of the Mandailing People of North Sumatra", http://www.mandailing.org/.

[26] See "Ramadan-Gordang Sambilan", December 22, 2000, http://www.pulseplanet.com/ dailyprogram/ dailies.php?POP=2300 .

[27] See Rizaldi Siagian, "Who I am", http://rizaldisiagian.wordpress.com/about/.

Note :

============

This article was written as a thank kasihkepada ethnomusicologist

Rizaldi Siagian, MA which many Mandailing researching traditional music that he liked and admired greatly . Mauliate godang Bang Rizaldi !!!