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.
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.
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 :
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:
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 !!!
