Known to have the biggest hand of all the most famous pianists, Rachmaninoff could span up to 14 notes at one time and he used this ability in composition, Rhapsody on a Theme of Paganini, 8 Prelude, and others.
Thursday, July 14, 2011
Piano
Known to have the biggest hand of all the most famous pianists, Rachmaninoff could span up to 14 notes at one time and he used this ability in composition, Rhapsody on a Theme of Paganini, 8 Prelude, and others.
10 World Best Drummer
10. Yoshiky Hayashi
Yoshiki Hayashi (Yoshiki Hayashi (born November 20, 1965) was born in Tateyama, Chiba, Japan. He began playing piano at age 4. His mother was a piano teacher and taught him myself. Yoshiki was ten years old when his father committed suicide. This tragedy and subsequent Yoshiki trauma threw completely into the music. He grew long hair and take the drums to let go of anger and pain. Fans of big band Western, especially KISS, while in high school Yoshiki came to ask for a childhood friend Toshimitsu Deyama as a member of his rock band X. A number of other members come and go, but in 1985, finally came up with the ranks on drums and piano Yoshiki, Toshi on vocals, Hideto Matsumoto (hide nickname, always in small letters) on guitar, Tomoaki Ishizuka (Pata) on guitar, and Taiji Sawada on bass.
9. James "The Reverend" Sullivan - Avenged Sevenfold
Jimmy Sullivan was the drummer of Avenged Sevenfold. Sullivan had also been a vocal and piano in and Brian Haner Jr. 's side project, Pinkly Smooth, in 2002. It is also used as back-up vocalist in Avenged Sevenfold. In addition to doing unclean vocals by frontman M. Shadows in the live versions of songs Chapter Four and Eternal Rest, the song Critical Acclaim features Sullivan on vocals during the chorus of the song, both singing and screaming. His vocals are also featured in other songs from the Avenged Sevenfold eponymous album, like "A Little Piece of Heaven", "Brompton Cocktail", "Gunslinger," "Lost," "Afterlife", and "Almost Easy". "Jimmy also plays various instruments other than drums, such as guitar and piano, and uses this ability to write songs like" A Little Piece of Heaven.
8. Craig MacIntyre
Craig Macintyre raised in the Boston area, the second child of Scottish immigrants. After high school, Craig decided to forgo college to pursue a career in music. Today, he is a sought-after session and live drummer. Craig played sharp he gets the nod from Modern Drummer Magazine and has been the rhythmic backbone of artists such as Josh Groban, Lucia Micarelli, Great Big Sea with The Chieftains, Sandy Lam, Johnny A, Toni Lynn Washington, Jess Klein, The Swinging steak and Vertical Horizon to name a few! Craig is currently on tour with multi-platinum singing sensation, Josh Groban and Josh featured on the DVD, Live in Greece.
7. Neil Peartneil
1952 - Birth - Sept. 12, in Hamilton, Ontario, Canada. Neil began taking drum lessons at the age of 13 years and in the late '60s / early '70s, immersed himself in the challenging sounds like a rock drummer Keith Moon as Status, ELP's Carl Palmer, Yes' Bill Bruford, and legendary big-band drummer Buddy Rich. After a brief stay in England (where he discovered the writings of Ayn Rand), intelligent returned to Canada in the early 70's and found that up-and-coming band Rush, who just wrapped up touring behind their debut album, is looking for a new drummer. Neil was granted a tryout and was immediately given the nod to join, as the trio (which also included singer / bassist Geddy Lee and guitarist Alex Lifeson) sought to expand on their musical direction, which then consisted of extended blues jams Led Zeppelin.
6. Lars Ulrich - Metallica
Lars Ulrich (born December 26, 1963) is a Danish drummer known as one of the founders of the American heavy metal band Metallica. He was born in Gentofte, Denmark to the upper middle class families. [1] A magical tennis in his youth, Ulrich moved to Los Angeles, California at the age of seventeen to pursue training, but instead of playing tennis, he ended up as a drummer. After publishing an advertisement in a local Los Angeles newspaper called The Recycler, he met James Hetfield and formed Metallica.
5. Tico Torres - Bon Jovi
Tico "The Hitman" Torres is best known internationally as the famous drummer in the iconic rock band, Bon Jovi's group has been recording and touring for twenty plus years, with record sales well in excess of one hundred million and still growing. Before joining Bon Jovi on the band early in 1983, Tico musical expertise is parlayed in a solid career with a live and studio drums and percussion performed with great experience such as Miles Davis, cher, Alice Cooper, Chuck Berry, Leslie gore, Cyndi Lauper, pen benatrar, Stevie Nicks and Franke and KO.
4. Joey Jordison - Slipknot
Joey Jordison was born on April 26, 1975 in Des Moines, Iowa. His full name is Nathan Jonas Jordison. Joey played drums for many metal bands, but also played guitar in his spare time. Joey started playing drums in the school jazz band when he was young. This, and hanging out with cousin Steve Allan White, helped him tone his drum skills at an early age. After years of working at a gas station and played for a number of metal bands, he finally landed a gig with the band now known as Slipknot. Although the band took a bit to get attention, so they did, Joey Jordison became one of the top drummers of America.
3. John Bonham - Led Zeppelin
John Bonham, drummer of the most amazing, influential and admired of all time, has inspired millions of drummers through the energy, strength, and creativity. Through a series of memories and anecdotes from friends near Bonham and his fellow musicians, including members of Led Zeppelin: John Paul Jones, Robert Plant and Jimmy Page, plus drummers such as Carmine Appice, Bev Bevan, Cozy Powell, Ian Paice, and Dave Mattacks Chris Welch-knit residents Midlands dramatic story that changed the way people think about drumming, the story of the struggle that begins early in adolescence to Bonham's remarkable success as a member of the band's biggest rock-and terbising, until his death which tragically at the age of 32 years. Everything is revealed that despite the brilliance of technique radically Bonzo is very hard, but underpinned by a gentle musical sensibilities. Nicholls jugs complete study of the exposure and the most detailed, accurate information about a variety of drum kits and percussion equipment Bonham.
2. Buddy Rich
Arguably the greatest jazz drummers of all time, the legendary Buddy Rich shows his love of music through the dedication of his life to art. His career is a career that spanned seven decades, beginning when Rich was 18 months and continued until his death in 1987. Very gifted, Rich could play with speed and agility are remarkable despite the fact that he never received a formal lesson and refused to practice outside appearance. Buddy Rich is remembered as one of history's greatest musicians. "According to jazz legend Gene Krupa, Rich" the greatest drummer who ever made a breath. "
1. Travis Barker - Blink 182
London Travis Barker was born on November 14 in Fontana, California. Travis began studying drums and taking lessons at age four. He studied with jazz music teacher and exposed to various styles of music. While in high school, Travis played in the jazz ensemble and marching band. Gaining experience performing at Competitions and festivals. Gaining experience performing at competitions and festivals. Senior year, Travis spent the drum corps audition for the tour with a rock band. Travis's mother died when she was a child, and the first tattoo is a tribute to him.
9. James "The Reverend" Sullivan - Avenged Sevenfold
Jimmy Sullivan was the drummer of Avenged Sevenfold. Sullivan had also been a vocal and piano in and Brian Haner Jr. 's side project, Pinkly Smooth, in 2002. It is also used as back-up vocalist in Avenged Sevenfold. In addition to doing unclean vocals by frontman M. Shadows in the live versions of songs Chapter Four and Eternal Rest, the song Critical Acclaim features Sullivan on vocals during the chorus of the song, both singing and screaming. His vocals are also featured in other songs from the Avenged Sevenfold eponymous album, like "A Little Piece of Heaven", "Brompton Cocktail", "Gunslinger," "Lost," "Afterlife", and "Almost Easy". "Jimmy also plays various instruments other than drums, such as guitar and piano, and uses this ability to write songs like" A Little Piece of Heaven.
8. Craig MacIntyre
Craig Macintyre raised in the Boston area, the second child of Scottish immigrants. After high school, Craig decided to forgo college to pursue a career in music. Today, he is a sought-after session and live drummer. Craig played sharp he gets the nod from Modern Drummer Magazine and has been the rhythmic backbone of artists such as Josh Groban, Lucia Micarelli, Great Big Sea with The Chieftains, Sandy Lam, Johnny A, Toni Lynn Washington, Jess Klein, The Swinging steak and Vertical Horizon to name a few! Craig is currently on tour with multi-platinum singing sensation, Josh Groban and Josh featured on the DVD, Live in Greece.
7. Neil Peartneil
1952 - Birth - Sept. 12, in Hamilton, Ontario, Canada. Neil began taking drum lessons at the age of 13 years and in the late '60s / early '70s, immersed himself in the challenging sounds like a rock drummer Keith Moon as Status, ELP's Carl Palmer, Yes' Bill Bruford, and legendary big-band drummer Buddy Rich. After a brief stay in England (where he discovered the writings of Ayn Rand), intelligent returned to Canada in the early 70's and found that up-and-coming band Rush, who just wrapped up touring behind their debut album, is looking for a new drummer. Neil was granted a tryout and was immediately given the nod to join, as the trio (which also included singer / bassist Geddy Lee and guitarist Alex Lifeson) sought to expand on their musical direction, which then consisted of extended blues jams Led Zeppelin.
6. Lars Ulrich - Metallica
Lars Ulrich (born December 26, 1963) is a Danish drummer known as one of the founders of the American heavy metal band Metallica. He was born in Gentofte, Denmark to the upper middle class families. [1] A magical tennis in his youth, Ulrich moved to Los Angeles, California at the age of seventeen to pursue training, but instead of playing tennis, he ended up as a drummer. After publishing an advertisement in a local Los Angeles newspaper called The Recycler, he met James Hetfield and formed Metallica.
5. Tico Torres - Bon Jovi
Tico "The Hitman" Torres is best known internationally as the famous drummer in the iconic rock band, Bon Jovi's group has been recording and touring for twenty plus years, with record sales well in excess of one hundred million and still growing. Before joining Bon Jovi on the band early in 1983, Tico musical expertise is parlayed in a solid career with a live and studio drums and percussion performed with great experience such as Miles Davis, cher, Alice Cooper, Chuck Berry, Leslie gore, Cyndi Lauper, pen benatrar, Stevie Nicks and Franke and KO.
4. Joey Jordison - Slipknot
Joey Jordison was born on April 26, 1975 in Des Moines, Iowa. His full name is Nathan Jonas Jordison. Joey played drums for many metal bands, but also played guitar in his spare time. Joey started playing drums in the school jazz band when he was young. This, and hanging out with cousin Steve Allan White, helped him tone his drum skills at an early age. After years of working at a gas station and played for a number of metal bands, he finally landed a gig with the band now known as Slipknot. Although the band took a bit to get attention, so they did, Joey Jordison became one of the top drummers of America.
3. John Bonham - Led Zeppelin
John Bonham, drummer of the most amazing, influential and admired of all time, has inspired millions of drummers through the energy, strength, and creativity. Through a series of memories and anecdotes from friends near Bonham and his fellow musicians, including members of Led Zeppelin: John Paul Jones, Robert Plant and Jimmy Page, plus drummers such as Carmine Appice, Bev Bevan, Cozy Powell, Ian Paice, and Dave Mattacks Chris Welch-knit residents Midlands dramatic story that changed the way people think about drumming, the story of the struggle that begins early in adolescence to Bonham's remarkable success as a member of the band's biggest rock-and terbising, until his death which tragically at the age of 32 years. Everything is revealed that despite the brilliance of technique radically Bonzo is very hard, but underpinned by a gentle musical sensibilities. Nicholls jugs complete study of the exposure and the most detailed, accurate information about a variety of drum kits and percussion equipment Bonham.
2. Buddy Rich
Arguably the greatest jazz drummers of all time, the legendary Buddy Rich shows his love of music through the dedication of his life to art. His career is a career that spanned seven decades, beginning when Rich was 18 months and continued until his death in 1987. Very gifted, Rich could play with speed and agility are remarkable despite the fact that he never received a formal lesson and refused to practice outside appearance. Buddy Rich is remembered as one of history's greatest musicians. "According to jazz legend Gene Krupa, Rich" the greatest drummer who ever made a breath. "
1. Travis Barker - Blink 182
London Travis Barker was born on November 14 in Fontana, California. Travis began studying drums and taking lessons at age four. He studied with jazz music teacher and exposed to various styles of music. While in high school, Travis played in the jazz ensemble and marching band. Gaining experience performing at Competitions and festivals. Gaining experience performing at competitions and festivals. Senior year, Travis spent the drum corps audition for the tour with a rock band. Travis's mother died when she was a child, and the first tattoo is a tribute to him.
History of Drum and List of World's Best Drummer
When it is found in history that one drummer can play two or more drums at the same time, people started placing groups of drums together for one musician to play. Players not only play drums drums of the same type but also from other cultures and around the world. The early 1930s found a new trick. The musicians find the right placement on the drum by doing banyka exercises, one player can handle a set of drums, and the entire group of drum players was not necessary anymore.Ganda is one of the drumming drums play over a drum. Cymbals and tom toms, which originated from China have added to the drum kit of drums are quick to accommodate different sets of drums. Cowbells, wooden blocks, and chimes with extra beats. In the flow history of drums, drum kits in the 1930s have been made with various forms of instruments in the armory. Drum Kit that consists of one foot and pedal bass drum, snare, hi hat cymbal, tom toms, and large hanging cymbals.The 1960s saw the rise of rock drummers, who began the development of a standard drum kit at the time. extra toms and cymbals, as well as the accumulation of another bass drum to increase the speed of electronic drums ditambahkan.KEmudian emerges that can produce different sounds. Drums and musical instruments used to date.
This is the Top 10 World Best drummer:
* Yoshiki Hayashi 'Best drummer ever'Attent his concert and see his drums solo is in my "100 Things to do before you die" So glad that i got a chance to accomplished it on January I can die with no regret now!
* Craig MacIntyreCraigfantastic drummer and fun to watch. Drummers have always fascinated me. Talk about multi-tasking ... amazing! Before joining Josh Groban's band, performed with Jackopierce Craig, Toni Lynn Washington, Jess Klein, Johnny A, and the Swinging Steaks, Among others. Thanks for sharing your drumkit with you know who Craig. ;
* Neil Peartneilshould be number 1! and why is not Mark Portnoy on this list?
* Lars Ulrich - Metallicaseeing Travis Barker ahead of boots made me sick to my stomach please vote for this man he is a awesome drummer
* Tico Torres - Bon jovi Jovibon is one of the best bands.
* Joey Jordison - Slipknotmy favorite and in my opinion # 2, Peart is just to great, and Travis Barker is not good at drumming, he is good at keeping rhythm and creating beats. He is a slow drummerTico has done great work
* John Bonham - Led ZeppelinHes great, no Neil Peart or Keith Moon, but um all drummers play with Their Hands ... Buddy RichThe swingmaster Should not be forgotten. He was definitely instrumental in pushing early jazz to its' popularity.
* James "The Reverend" Sullivan - Avenged Sevenfold "the rev is simply a beast just listen to blinded in chains or listen to critical acclaim, he's the one singing in the chorus try to tell me what other drummers can play the drums insainly and play the double bass and sing amazingly insainly all at the same time "
* Travis Barker - Blink 182 182Blink is the best band ever and travis is the reason I play drums
100 Best Drummer In The World:
Surely the best drummer of this order based on subjectivity, and each of us has a different assessment about the best drummer this. If you do not agree with this list, it's okay and give your comments.1. Neil Peart (Rush)2. John Bonham * (Led Zeppelin)3. Keith Moon * (The Who)4. Carl Palmer (ELP)5. Ginger Baker (Cream)6. Terry Bozzio (Frank Zappa)7. Bill Bruford (Yes, King Crimson)8. This Blaine (Session man)9. Ian Paice (Deep Purple)10. Mike Portnoy (Dream Theater) 11. Dave Lombardo (Slayer)12. Danny Carey (Tool)13. Ringo Starr (The Beatles)14. Carmine Appice (Vanilla Fudge)15. Earl Palmer (Session man)16. Benny Benjamin * (Funk Brothers)17. Jeff Porcaro * (Toto)18. Stewart Copeland (The Police)19. Tommy Aldridge (Ozzy Osbourne)20. Bernard Purdie (Session)21. Bill Ward (Black Sabbath)22. Steve Smith (Journey)23. Mitch Mitchell (Jimi Hendrix)24. David Garabaldi (Tower Of Power)25. Mike Shrieve (Santana)26. Ainsley Dunbar (Jeff Beck)27. Cozy Powell * (Rainbow)28. Nicko McBrain (Iron Maiden)29. Carter Beauford (Dave Matthews)30. Tim Alexander (Primus)31. Roger Taylor (Queen)32. Matt Cameron (Soundgarden)33. Zigaboo Modeliste (The Meters)34. Phil Collins (Genesis)35. Al Jackson * (The MGS)36. Vinnie Paul (Pantera)37. Topper Headon (The Clash)38. Lars Ulrich (Metallica)39. Jimmy Chamberlain (Smashing Pumpkins)40. Bobby Jarzombeck (Rob Halford, Iced Earth)41. Rod Morgenstein (Dixie Dregs, Winger)42. Holgan Gene (Death, Strapping Young Lad)43. Martin Lopez (Opeth)44. Simon Phillips (Toto)45. Mike Giles (King Crimson, Giles, Giles & Fripp)46. Max Weinberg (Springsteen)47. Alex Van Halen (Van Halen)48. Jon Theodore (Mars Volta, One Day As A Lion)49. Brian Downey (Thin Lizzy)50. Gavin Harrison (Porcupine Tree, session man)51. Alan White (Yes)52. Nick Menza (Megadeth)53. Phil Ehart (Kansas)54. Mark Zonder (Fate's Warning)55. Nick Mason (Pink Floyd)56. Jaki Liebezeit (CAN)57. Scott Travis (Judas Priest)58. Virgil Donati (Planet X)59. Jim Gordon (Derek And The Dominoes)60. Ron Bushy (Iron Butterfly)61. Richard Allen (Funk Brothers)62. BJ Wilson * Procul Harum)63. Chad Wackerman (Zappa)64. Ralph Humphrey (Mothers Of Invention)65. Josh Freese (A Perfect Circle, Desert Sessions)66. Jojo Mayer (Nerve, session man)67. Brann Dailor (Mastodon)68. Clive Burr (Iron Maiden)69. Christian Vander (Magma)70. Dennis Thompson (MC5)71. John French (Captain Beefheart)72. John Weathers (Gentle Giant)73. Steve Shelley (Sonic Youth)74. Pat Mastelotto (King Crimson)75. Greg Bissonette (David Lee Roth, session man)76. Mick Fleetwood (Fleetwood Mac)77. Mike Mangini (Extreme)78. Larry Mullen Jr.. (U2)79. Clive Bunker (Jethro Tull)80. Tomas Haake (Meshuggah)81. Jabo Starks (James Brown, session man)82. Brian Mantia (Primus)83. Scott Rockenfield (Queensryche)84. Phil Taylor (Motorhead)85. Vinnie Appice (Dio, session man)86. Fred Coury (Cinderella)87. Travis Barker (Blink 182)88. Phil Selway (Radiohead)89. Randy Castillo (Ozzy Osbourne)90. Zak Starkey (The Who, Oasis)91. Charlie Watts (Rolling Stones)92. Dave Grohl (Nirvana)93. Tommy Lee (Motley Crue)94. Jose Pasillas (Incubus)95. Ron Wilson * (Surfaris)96. John Densmore (The Doors)97. Chester Thompson (Santana)98. Matt Johnson (Jeff Buckley)99. Van Romaine (Steve Morse)100. Sandy Nelson (solo)101. Steven Adler (Guns N 'Roses)102. Butch Trucks (Allman Brothers Band)103. Jon Hiseman (Colosseum)104. Robert Wyatt (Soft Machine)105. Jay Lane (Colonel Claypool's Frog Brigade)106. Mickey Hart (Grateful Dead)107. Bill Kreutzmann (Grateful Dead)108. Pierre Moerlen (Gong)109. Derek Roddy (Hate Eternal)110. Charlie Benante (Anthrax)111. Thomas Pridgen (The Mars Volta)112. Chris Pennie (Dillinger Escape Plan)113. Taylor Hawkins (Foo Fighters)114. Dominic Howard (Muse)115. Sean Kinney (Alice In Chains)116. Pick Withers (Dire Straits)117. Lee Kerslake (Uriah Heep)118. Sib Hashian (Boston)119. Richard Christy (Death, Iced Earth)120. Kris Myers (Umphrey's McGee)121. Pat Torpey (Mr Big)122. Leonard Haze (Y & T)123. Hellhammer (Mayhem)124. Jon Fishman (Phish)125. Allan Aucoin (Disco Biscuits)126. Dave Abbruzesse (Pearl Jam)127. Jason Rullo (Symphony X)128. Morgan Carlson (Protest The Hero)129. Jeff Campitelli (Joe Satriani)130. Nick Barker (Dimmu Borgir)131. Ray Herrera (Fear Factory)132. Flo Mounier (Cryptopsy)133. Igor Cavalera (Sepultura)134. Jack Irons (Pearl Jam)135. Paul Bostaph (Slayer)136. Dean Castronovo (Journey)137. Stanton Moore (Galactic)138. Blake Richardson (Between the Buried and Me)139. Jason Bonham (UFO)140. Chad Smith (Red Hot Chilli Peppers)141. Kenny Aronoff (Session man)142. David Silveria (Korn)143. Bobby Elliot (The Hollies)144. Roger Hawkins (Arethra Franklin)145. Greg Errico (Sly And The Family Stone)146. Stephen Perkins (Jane's Addiction)147. Jim Keltner (Session man)148. Nick D'Virgilio (Spock's Beard)149. Phil Rudd (AC / DC)150. Brad Wilk (Rage Against The Machine)
most expensive guitar
What price the most expensive guitar you know? Rp. 100 million? Rp. 200 million? Very rarely the price of a guitar reaches hundreds of millions of no-frills behind. Usually the price of one guitar no more than 8 digits. The high price of a guitar is usually caused by a number of factors such as the event what the guitar was sold, and who owned it.
Tuesday, July 12, 2011
How to Improvise on Guitar Chord
The violin is truly one of the the most wonderful musical instruments to own or play. In order to play this instrument one is required to find proper instruction. These days, with the advancement of technology it is possible to take online violin lessons through countless video programs available online.
There is an infinite number of sites that can be discovered right from the comfort of your own living room in order to learn to play violin. You can even shop for packages online, which makes the violin lessons very easy to understand. Once purchased, these packages can be downloaded to your computer. These online violin lesson packages contain hundreds of detailed videos, which make concepts very clear and easy. Along with the videos these package also contain exercises, jam cards, step-wise instructions, scales and cards. All these things allow you to learn at your own pace, without bothering about the speed of the rest of the students.
Once you start searching on the web, you will come across numerous professional packages or video lessons, which can make the learning process a real fun. These online violin courses offer different packages for teachers, parents, professionals and students. Starting from the beginner’s level these courses come with advanced levels to enhance the learning process of playing violin. All these courses are quite affordable when compared to traditional violin lessons from an instructor.
Another major benefit of learning to play violin through online courses is that you can practice as little or as much as per your liking as you do not have to face the limitations of timed lessons. You can plan to take these lessons at any time of the day. These violin lessons online also save you from the trouble of driving down to the instructor’s place.
Each websites has different teachers and all of them vary in style and cost. So, an extensive search is suggested in order to choose the course, which suits best to your learning style. With a little time and patience you can get hold of an appropriate online package for learning to play violin.
There is an infinite number of sites that can be discovered right from the comfort of your own living room in order to learn to play violin. You can even shop for packages online, which makes the violin lessons very easy to understand. Once purchased, these packages can be downloaded to your computer. These online violin lesson packages contain hundreds of detailed videos, which make concepts very clear and easy. Along with the videos these package also contain exercises, jam cards, step-wise instructions, scales and cards. All these things allow you to learn at your own pace, without bothering about the speed of the rest of the students.
Once you start searching on the web, you will come across numerous professional packages or video lessons, which can make the learning process a real fun. These online violin courses offer different packages for teachers, parents, professionals and students. Starting from the beginner’s level these courses come with advanced levels to enhance the learning process of playing violin. All these courses are quite affordable when compared to traditional violin lessons from an instructor.
Another major benefit of learning to play violin through online courses is that you can practice as little or as much as per your liking as you do not have to face the limitations of timed lessons. You can plan to take these lessons at any time of the day. These violin lessons online also save you from the trouble of driving down to the instructor’s place.
Each websites has different teachers and all of them vary in style and cost. So, an extensive search is suggested in order to choose the course, which suits best to your learning style. With a little time and patience you can get hold of an appropriate online package for learning to play violin.
The violin is truly one of the the most wonderful musical instruments to own or play. In order to play this instrument one is required to find proper instruction. These days, with the advancement of technology it is possible to take online violin lessons through countless video programs available online.
There is an infinite number of sites that can be discovered right from the comfort of your own living room in order to learn to play violin. You can even shop for packages online, which makes the violin lessons very easy to understand. Once purchased, these packages can be downloaded to your computer. These online violin lesson packages contain hundreds of detailed videos, which make concepts very clear and easy. Along with the videos these package also contain exercises, jam cards, step-wise instructions, scales and cards. All these things allow you to learn at your own pace, without bothering about the speed of the rest of the students.
Once you start searching on the web, you will come across numerous professional packages or video lessons, which can make the learning process a real fun. These online violin courses offer different packages for teachers, parents, professionals and students. Starting from the beginner’s level these courses come with advanced levels to enhance the learning process of playing violin. All these courses are quite affordable when compared to traditional violin lessons from an instructor.
Another major benefit of learning to play violin through online courses is that you can practice as little or as much as per your liking as you do not have to face the limitations of timed lessons. You can plan to take these lessons at any time of the day. These violin lessons online also save you from the trouble of driving down to the instructor’s place.
Each websites has different teachers and all of them vary in style and cost. So, an extensive search is suggested in order to choose the course, which suits best to your learning style. With a little time and patience you can get hold of an appropriate online package for learning to play violin.
There is an infinite number of sites that can be discovered right from the comfort of your own living room in order to learn to play violin. You can even shop for packages online, which makes the violin lessons very easy to understand. Once purchased, these packages can be downloaded to your computer. These online violin lesson packages contain hundreds of detailed videos, which make concepts very clear and easy. Along with the videos these package also contain exercises, jam cards, step-wise instructions, scales and cards. All these things allow you to learn at your own pace, without bothering about the speed of the rest of the students.
Once you start searching on the web, you will come across numerous professional packages or video lessons, which can make the learning process a real fun. These online violin courses offer different packages for teachers, parents, professionals and students. Starting from the beginner’s level these courses come with advanced levels to enhance the learning process of playing violin. All these courses are quite affordable when compared to traditional violin lessons from an instructor.
Another major benefit of learning to play violin through online courses is that you can practice as little or as much as per your liking as you do not have to face the limitations of timed lessons. You can plan to take these lessons at any time of the day. These violin lessons online also save you from the trouble of driving down to the instructor’s place.
Each websites has different teachers and all of them vary in style and cost. So, an extensive search is suggested in order to choose the course, which suits best to your learning style. With a little time and patience you can get hold of an appropriate online package for learning to play violin.
Monday, July 11, 2011
Gondang, one of the musical tribe in Indonesia
When we hear the term "Batak music", whether that comes to mind? The term "Batak" with regard to something great nation that contains several tribes whose culture and language related, but also different. Nations including the Batak tribe of Batak Toba, Karo, Simalungun, Pakpak-Dairi, Mandiling, and Angkola. According to the custom in Indonesia, if we hear the word "Batak" we usually think about the culture of Toba Batak. Then, unless we are working in an atmosphere anthropologist or ethnomusicologist, the term "Batak music" is almost always equated with Toba Batak music.
If we think about the Batak music, whether it is arising in our minds? In large cities such as Medan, the answer is almost always associated with pop music like the Batak music vocal trio which usually can be heard at a wedding party, radio broadcast Batak music, Karaoke, etc. lapotuak.When pop music Batak offered on video cassettes usually in karaoke, it's almost always about the longing for the village, Lake Toba, and lifestyle are often considered to have been lost. In this kind of video, singers and dancers often wear traditional clothes dancing in front of the house tortor tradition, or the edge of Lake Toba. In this video, sometimes we catch a glimpse of the Toba Batak traditional music ensembles; Gondang Sabangunan and Gondang Hasapi. A glimpse of this vision, however is usually very short once and almost never allowed to hear these tools in the picture of Toba Batak culture is mediated and regulated by the media. Toba Batak traditional music group has become a symbol of culture being stripped by the context and original meaning. Because of the power of mass media in modern life, the Toba Batak people, especially youth who live in the city regard them as a symbol of musical tradition traditional Batak culture, but that symbol represents both maupum astetis live music scene which is usually sequestered in their daily lives .
Gondang
If we think about the Batak music, whether it is arising in our minds? In large cities such as Medan, the answer is almost always associated with pop music like the Batak music vocal trio which usually can be heard at a wedding party, radio broadcast Batak music, Karaoke, etc. lapotuak.When pop music Batak offered on video cassettes usually in karaoke, it's almost always about the longing for the village, Lake Toba, and lifestyle are often considered to have been lost. In this kind of video, singers and dancers often wear traditional clothes dancing in front of the house tortor tradition, or the edge of Lake Toba. In this video, sometimes we catch a glimpse of the Toba Batak traditional music ensembles; Gondang Sabangunan and Gondang Hasapi. A glimpse of this vision, however is usually very short once and almost never allowed to hear these tools in the picture of Toba Batak culture is mediated and regulated by the media. Toba Batak traditional music group has become a symbol of culture being stripped by the context and original meaning. Because of the power of mass media in modern life, the Toba Batak people, especially youth who live in the city regard them as a symbol of musical tradition traditional Batak culture, but that symbol represents both maupum astetis live music scene which is usually sequestered in their daily lives .
Gondang
Musical tradition known as the Toba Batak society gondang. There are three meanings for the word "gondang": 1. One type of traditional music Toba Batak; 2. Composition found in this type of music TSB. (Eg composition titled Gondang First, Gondang Haroharo etc; and 3. Instrument "drum". There are two music ensembles gondang, namely Gondang Sabangunan who usually played outside the home are at home; and gondang Hasapi are usually played in the house.
Gondang Sabangunan consists of sarune Bolon (a kind of brass-"oboe), taganing (equipment consisted of five drums that are locked have a melodic role with sarune TSB), Gordang (a large drum rhythm that accentuates the rhythm), four gongs called ogung and hesek a percussion instrument (usually a bottle that was beaten with wooden sticks or metal) that helps rhythm.
Sarune Bolon is a double reed wind instrument (oboe) is similar to other tools that can be found in the Jaw, India, China, etc.. Sarune players use a technique called marsiulak Hosah (continuous breath back) and allow players to play long phrases without once stopping to take a deep breath. As mentioned above, equipment taganing is composed of five drums are locked and have the same melodic role with sarune. Gondang sabangunan scales arranged in a very unique way. Appliances tone locked in much the same way (but not exactly) with the scales starting from the first sequence until the fifth major diatonic scales found dimusik West: do, re, mi, fa, sol. These form the pentatonic scales are very unique, and as far as I know, can not be found elsewhere in the world. As found in the gamelan music of Java and Bali, the system scales used in music gondang a variation between each ensemble, this variation depends on the aesthetic sarune players and players taganing. Then there is considerable variation among regions kelompik that add diversity and cultural inheritance is very valuable.
Ogung composed of four gongs which each have a role in the rhythm structure. Gondang rhythm pattern called Doal, and in his conception cycles similar to those found dimusik gong gamelan from Java and Bali, but the rhythm Doal shorter cycles.Sebahagian large repertoire gondang sabangunan also played in the context of ensemble gondang Hasapi. This ensemble consists of Hasapi ende (a type of small guitar that has two straps which play the melody), Hasapi Doal (a type of small guitar that has two straps that playing rhythm patterns), garantung (a type of xylophone melody, take a small play a role in the ensemble gondang taganing Hasapi ), sulim (a type of flute made of bamboo paper which has a vibrating membrane, such as sulim dze from China), sarune etek (a kind of clarinet which take sarune Bolon role in this ensemble), and hesek (a type of percussion instrument that amplifies the rhythm, usually tools There is a bottle that hit with a spoon or knife).
Scales used in music gondang Hasapi almost the same as those used in gondang sabangunan, but more like a major diatonic scales used in the West. This is because the influence of the Christian church music.
ASPECTS OF HISTORY
Ensemble music using instruments made of bronze in Sumatra usually consist of equipment that had four to twelve small gongs, one or two large hanging gongs, two to nine drums, a brass, and gembreng penyari. A typical ensemble of this kind exist gondang sabangunan of Toba Batak. This ensemble is still used in religious ceremonies Parmalim. Gondang sabangunan have a crucial role in the religious ceremony. As in the note above, this ensemble consists of four main gong gong rhythm cycle is short, equipment is locked out of five drums, one sarune (brass / oboe), one big drum and a percussion instrument (usually a bottle) to strengthen the rhythm.
Sabangunan gondang music used in religious ceremonies for the prayers of human beings into the world above. When music is played, players and players sarune taganing considered a manifestation of Guru. This music is used to communicate with the world's top musicians and transformation apparently occurs to facilitate relations with the world above. This paradigm transformation in the Batak myth is very similar to that in Bali pointed to indirect evidence that a relationship exists between the cultures of ancient Toba Batak and Balinese culture. Though it can not be proven, there is the possibility of dealing with history, because both cultures are each associated at least as a limit out majapahit kingdom. Bersangkut with the concept of three-tiered cosmos is no concept of mediating factors; the cosmic tree or the tree of life. This mythical tree that connects the three worlds have a symbolic relationship with the Bodhi tree in Buddhism, Kayon in Balinese and Javanese wayang, and perhaps the concept is older than Buddhism and Hinduism. Batak music's role in the conception of tree-like role of the cosmos; music world also menguhubungkan respectively. Through music gondang permeable boundaries between the world, man's prayer can be up to debata, and blessings debata can be up to humans.
With the advent of Christianity to the Land of Batak, Batak culture staple is changed at all. Interaction with this new religion and values of western culture tradition of Batak Toba shook to its roots. According to the Christian church gondang associated with trance music, the worship of ancestral spirits, and the Batak indigenous religion, is too dangerous to be allowed continue to be played again. In the early twentieth century Dutch colonial government Nommensen requested to prohibit the ceremony and music gondang anesthetic. The ban is survived nearly forty years until in 1938. It was a major blow to religious traditions and music gondang Toba Batak are strongly associated with the religion page.
MODERN CONDITIONS
Batak Migration to the cities began in 1910 but only after Indonesia became independent migration is a big plus in an 50-yr. Migration to cities has contributed to the interaction with other tribes in the cities of Indonesia whose population is mostly Muslim. In a multi-ethnic environment is a lot of people see a sense of identity hobo hobo who became stronger against other tribes. But many people hobo also in the process of uniting ourselves with the people of Indonesia to leave many aspects of language, culture, and tradition. On the other hand there are parts of the city of Batak people who become more aware of importance of community identity and trying to assert hobo hobo flavor and provides funds for memorial ceremonies and other celebrations in his village.
There Batak people who have become prosperous city that often finance the ceremony. They carry aesthetic cosmopolitan sometimes against aesthetic tradition. Identification with the values of kemoderenan, advancement, education and prosperity is often expressed with an affinity for what is considered modern. For example now at the party or ceremony as if the music group playing keyboards poco-poco and appreciated more in demand than with the old music gondang have a very important role in traditional ceremonies. The modern wedding is no longer considered to be incomplete without a keyboard or a brass band music that played pop songs or pop hobo west, the opposite might be considered tacky gondang music ensembles by city people, the tendency to identify with modernity is not wrong.
We all have to live in the modern world and must face a global media and advertising, like it or not increasingly affect everyone's minds and tastes. We can not afford to live in the past and escape from the advances. However, there is a threat that in this generation we can eliminate the kind of musical tradition called gondang, who until recently was the manifestation of Toba Batak culture is very important both in the field of community and spiritual fields.
CONCLUSION
As a student of ethnomusicology (music lessons the area), I recently was introduced to music gondang Toba Batak in 1993 at the University of Washington, Seattle, USA. I instantly fell in love with this music is beautiful and very unique. Complex melodies once played by Bolon and taganing sarune rhythms intertwine with gondang, ogung, and hesek in a hypnotic way, like my soul is called this music. It turned out that this music is fitting for this purpose. I was encouraged by two friends etnomusikologis hobo to learn this music is incredibly beautiful and rarely heard outside of North Sumatra.
Grief I witnessed the decline of music gondang. Hobo community is a proud and vibrant community that values culture and identity. Then, I think is very confusing at this extraordinary legacy left behind. Why Balinese and Javanese musical tradition is still alive, although now on the verge of extinction gondang hobo. Does Balinese or Javanese culture is superior to hobo culture? I do not think so.
It takes steps to organize a program to study the tradition of hobo culture, the purpose of documentation, preservation, education, and promotion of the tradition of hobo culture. Joined in the research and documentation that has been done to seek against the erosion of cultural traditions that stand out at all, especially in the arts. I recommend attention to the art of music, because this my field, but keprhatinan me about all aspects of culture. Because the pressures of modernization, globalization, mass media, and the attractiveness of the western world and special cultural traditions of music gondang danger of being lost. Lost music gondang called many people already happened, of course, tragic.
Ceremony and a party that once served as a musical performance traditions of the less because people prefer a keyboard or a trio of vocal groups that better reflect the modernity and the distance of all the things called plebeian. Hobo pop music is of course also the identity of the Toba Batak ethnic tribes, there is usually country music and old pop ballads Americans who wear hobo language. The music there is no strong relationship with the hobo community, except occasionally as an example of culture in the process of change, but how tragic that this hobo pop music replaces gondang which is a precious heritage but underappreciated.
More and more players gondang died and the younger players are encouraged by the things aesthetic and economical way to play music that is more in demand. The possibility arises that the music will be lost sebahagian gondang large or all of them. It should not be overlooked. There is a big possibility that gondang will only survive in a religious context Parmalim who still use this music in its original context. They use the music of his ancestors to honor ancestors and to the prayers of TSB to Debata Mulajadi Nabolon.
How tragic if the hobo-shaped living heritage of this beautiful music, which had a very long history, valuable and very unique in the world, will become extinct. In our western world has long forgotten a lot of tradition, and there is a tendency to seek the sacred from other cultures, I met with sacred music and the extraordinary in North Sumatra, but this music will probably become extinct because the people who gave it birth is no longer enough perdul
Sweet Auburn Springfest 2011
Description
Sweet Auburn Springfest is the largest Multicultural Street festival in the South. Held In the historic Sweet Auburn District of Atlanta, and its a family event.
Performers
Artist covering all genres of music, from Jazz, to Blue Grass and International performers. All performers appear on a promotional basis. Some of todays top names got their start on the festival stage, Usher, Outkast, India Arie and Raven Symone.
Venue
Historic Sweet Auburn District
Directions
Historical Auburn Avenue is located in the heart of Atlanta. Interstate 75/85 exits into the district and the Festival. From I-20 east or west take 75/85 North to the 1st Exit. This will place you at the Festival.
Times
Fri 5:00 pm - 10:00 pm
Sat 11:00 am - 9:00 pm
Sun 2:00 pm - 8:00 pm
Admission & Parking
Free
Parking fees: Free - $10.00
Website
http://www.sweetauburn.com/
Infophone
404-3990886
Email
earl@sweetauburn.com
Sweet Auburn Springfest is the largest Multicultural Street festival in the South. Held In the historic Sweet Auburn District of Atlanta, and its a family event.
 |
Artist covering all genres of music, from Jazz, to Blue Grass and International performers. All performers appear on a promotional basis. Some of todays top names got their start on the festival stage, Usher, Outkast, India Arie and Raven Symone.
Historic Sweet Auburn District
Historical Auburn Avenue is located in the heart of Atlanta. Interstate 75/85 exits into the district and the Festival. From I-20 east or west take 75/85 North to the 1st Exit. This will place you at the Festival.
Fri 5:00 pm - 10:00 pm
Sat 11:00 am - 9:00 pm
Sun 2:00 pm - 8:00 pm
Free
Parking fees: Free - $10.00
http://www.sweetauburn.com/
404-3990886
earl@sweetauburn.com
Summerfest
Description
Performers
Varies each year - please check www.summerfest.com for more details.
Venue
Henry Maier Festival Park
Directions
Please check Summerfest.com or call 414.273.FEST for directions
Times
12:00 pm - 12:00 am
Admission & Parking
$15/evenings and weekends
$8/weekdays
$3/children & seniors
Website
http://www.summerfest.com
Infophone
414--273-2680
Email
info@summerfest.com
Summerfest, the World's Largest Music Festival, takes place along Milwaukee's beautiful Lake Michigan shore. This unforgettable live music experience features hundreds of performances by music's hottest stars, as well as up-and-coming talent and hometown favorites. Patrons can also enjoy food, attractions and activities as diverse as the musical lineups. The 75-acre festival grounds include the 23,000 seat Marcus Amphitheater, along with 10 other stage areas and state of the art facilities. Visit www.summerfest.com for details.
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Varies each year - please check www.summerfest.com for more details.
Henry Maier Festival Park
Please check Summerfest.com or call 414.273.FEST for directions
12:00 pm - 12:00 am
$15/evenings and weekends
$8/weekdays
$3/children & seniors
http://www.summerfest.com
414--273-2680
info@summerfest.com
Rock Fest
Description
Performers
Venue
Natural Ampitheatre
Directions
Enter 24447 Cty Hwy S, Cadott, WI 54727 for specific directions to Rock Fest. Fest grounds are located 5 miles North of Cadott, WI off Highway 27, West 2 miles on County Road S. 30 minutes from Eau Claire. 1 hour, 30 minutes from Twin Cities. 3 hours, 30 minutes from Milwaukee.
Times
Gates open 3 pm Thur 7/14 Gates open 11 am Fri, Sat & Sun.
Admission & Parking
1-Day General starts at $77.50 4-Day General starts at $155 Reserved (including Official Rock Fest lawn chair) starts at $250 VIP starts at $450 (A VIP seat can be used as one 4-Day ticket for one person OR four 1-Day VIP so up to four people can enjoy the seat)
Website
http://www.rock-fest.com
Infophone
1(8-00)326-3378
Email
jill@rock-fest.com
Rock Fest, in its 18th year in 2011 is a 4-day outdoor rock music festival in the heart of picturesque Central Wisconsin. Set in a Natural Ampitheatre, Rock Fest has the largest campground in Wisconsin with 8000 campsites, all within easy walking distance to the massive Concert Grounds. Catering to audinces upwards of 30,000 per day, Rock Fest is consistently ranked among the Top Rock Festivals in the USA. Rock Fest ~ The ULTIMATE Rock experience.
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Performers
Past acts inclued: KISS, Tom Petty, John Mellencamp, Skillet, Limp Bizkit, Godsmack, Matchbox 20, Motley Crue, Poison, Cinderella, Stix, Def Leppard, Stone Temple Pilots, Boston, Steve Miller Band, Three Days Grace, Alice in Chains, & many more ... Best of Rock, Past & Present. For full 2011 Lineup including Avenged Sevenfold, Kid Rock, Rob Zombie, Def Leppard, Three Days Grace & more, visit www.rock-fest.com
Natural Ampitheatre
Enter 24447 Cty Hwy S, Cadott, WI 54727 for specific directions to Rock Fest. Fest grounds are located 5 miles North of Cadott, WI off Highway 27, West 2 miles on County Road S. 30 minutes from Eau Claire. 1 hour, 30 minutes from Twin Cities. 3 hours, 30 minutes from Milwaukee.
Gates open 3 pm Thur 7/14 Gates open 11 am Fri, Sat & Sun.
1-Day General starts at $77.50 4-Day General starts at $155 Reserved (including Official Rock Fest lawn chair) starts at $250 VIP starts at $450 (A VIP seat can be used as one 4-Day ticket for one person OR four 1-Day VIP so up to four people can enjoy the seat)
http://www.rock-fest.com
1(8-00)326-3378
jill@rock-fest.com
Festival International Nuits dAfrique
Description
Performers
Manu Dibango, Kassav , Madjo, Meklit hadero, Grupo Fantasma, Oumou Sangare, Hakim Salhi, Emeline Michel, Bombino, Makadem ....
Venue
Parterre, Place des Arts
Times
12-24 July 2011
Admission & Parking
Metro Place des Arts
Website
http://www.festivalnuitsdafrique.com
Infophone
514-4999239
Email
info@festivalnuitsdafrique.com
Since 1987, every edition of Festival International Nuits d’Afrique has had its own particular charm and personality. That is one of the important reasons it thrives. At the forefront of artistic creativity the Festival plumbs a vast pool of talent from here to Timbuktu, across great oceans to Africa, the Caribbean and Latin America. By encouraging the best of old and new world traditions in a spirit of magic and family filled with passion, the festival has carved out a unique position on the cultural landscape and captured the imagination of faithful festival-goers. From summer to summer, attendance at Festival International Nuits d’Afrique has climbed steadily. The fans turned out for 11 unforgettable days spiced with the flavours of southern lands.
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Manu Dibango, Kassav , Madjo, Meklit hadero, Grupo Fantasma, Oumou Sangare, Hakim Salhi, Emeline Michel, Bombino, Makadem ....
Parterre, Place des Arts
12-24 July 2011
Metro Place des Arts
http://www.festivalnuitsdafrique.com
514-4999239
info@festivalnuitsdafrique.com
Saturday, March 26, 2011
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Saturday, March 12, 2011
Suku Batak
Not to be confused with Batak of the Philippines.
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| Batak Karo couple | |||||||||||||||
| Total population | |||||||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| circa 6 million (2000 census)[1] | |||||||||||||||
| Regions with significant populations | |||||||||||||||
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| Languages | |||||||||||||||
| Batak languages (Alas-Kluet, Angkola, Dairi, Karo, Mandailing, Simalungun, Toba), Malay, Indonesian | |||||||||||||||
| Religion | |||||||||||||||
| Christian, Muslim, traditional religions (Parmalim et al) | |||||||||||||||
| Related ethnic groups | |||||||||||||||
| Malay |
In North Sumatra, Toba people typically assert their identity as 'Batak', while other 'Bataks' may explicitly reject that label, preferring instead to identify as specifically 'Simalungun', 'Karo', etc
Prehistory
Linguistic and archeological evidence indicates that Austronesian speakers first reached Sumatra from Taiwan and the Philippines through Borneo and/or Java about 2,500 years ago, and the Batak probably evolved from these settlers.[3] While the archaeology of southern Sumatra testifies the existence of neolithic settlers it seems that the northern part of Sumatra was settled by agriculturalists at a considerably later stage.
The Bataks were likely involved with trade with Srivijaya for benzoin and camphor, both of which were important commodities for trade with China, and grew in the Batak lands of Northwest Sumatra, perhaps from the eighth or ninth centuries,[2] and continuing for the next thousand years, Batak men carrying the products on their backs for sale at ports.
It is suggested that the important port of Barus, in Tapanuli was populated primarily by Batak people. A Tamil inscription has been found in Barus dated 1088, while contact with Chinese and Tamil traders took place at Kota Cina, established in the eleventh century, and comprising 10,000 people by the twelfth century. Tamil remains have been found on key trade routes to the Batak lands.
These trading opportunities may have caused migration of Batak from Pakpak and Toba to the current day Karo and Simalungun 'frontier' lands, where they were exposed to greater influence from visiting Tamil traders, while the migration of Batak to the Angkola-Mandailing lands may have been prompted by eight-century Srivijayan demand for camphor.
The Karo marga 'Sembiring', meaning 'black one' is believed to originate from their ties with Tamil traders, with specific Sembiring sub-marga, namely Brahmana, Colia, Pandia, Depari, Meliala, Muham, Pelawi, and Tekan all of Indian origin. Tamil influence on Karo religious practices are also noted, with the pekualuh secondary cremation ritual specific to the Karo and Dairi people.
From the sixteenth century onwards, Aceh increased the production of pepper, an important export commodity, and in doing so needed to import rice, which grew well on the Batak wetlands. Batak people in different areas cultivated either 'sawah' (wet ricefields) or 'ladang' (dry rice), and Toba Batak, most expert in agriculture, would have migrated to meet demand in new areas. The increasing importance of rice had religious significance, increasing the power of the Batak high priests, who had responsibility for ensuring agricultural success.
Language
Batak speak a variety of closely related languages, all members of the Austronesian language family. There are two major branches, a northern branch comprising the Pakpak-Dairi, Alas-Kluet and Karo languages that are similar to each other but distinctly different from the languages of the southern branch comprising three mutually intelligible dialects: Toba, Angkola and Mandailing. Simalungun is an early offspring of the southern branch. Some Simalungun dialects can be understood by speakers of Batak Karo whereas other dialects of Simalungun can be understood by speakers of Toba. This is due to the existence of a linguistic continuum that often blurs the lines between the Batak dialects.The Batak possess their own script known as the Surat Batak.[4] The writing has chiefly ceremonial importance within traditional religious ceremonies, and was subject to little change for this reason. It is likely that the Batak people received their writing system from southern Sumatra.
Society
Before they became subjects of the colonial Dutch East Indies government, the Batak had a reputation for being fierce warriors. Today the Batak are mostly Christian with a Muslim minority. Presently the largest Christian congregation in Indonesia is the HKBP (Huria Kristen Batak Protestan) Christian church. The dominant Christian theology was brought by Lutheran German missionaries in the 19th century, including the well-known missionary Ludwig Ingwer Nommensen. Christianity was introduced to the Karo by Dutch Calvinist missionaries and their largest church is the GBKP (Gereja Batak Karo Protestan). The Mandailing and Angkola Batak were converted to Islam in the early 19th century. A significant minority of Batak people do not adhere to either Christianity or Islam, however, and follow traditional practices known as the agama si dekah, the old religion, which is also called perbegu or pemena.[5]
Ritual cannibalism
Ritual cannibalism is well-documented among Batak people, performed in order to strengthen the eater's tendi.[2] In particular, the blood, heart, palms and soles of the feet were seen as rich in tendi.In Marco Polo’s memoirs of his stay on the east coast of Sumatra (then called Java Minor) from April to September of 1292, he mentions an encounter with hill folk whom he refers to as “man-eaters”.[6] From secondary sources, Marco Polo recorded stories of ritual cannibalism among the "Battas". Marco Polo's stay was restricted to the coastal areas, and he never ventured inland to directly verify such claims. Despite never personally witnessing these events, he was nonetheless willing to pass on descriptions which were provided to him, in which a condemned man was eaten:
- "They suffocate him. And when he is dead they have him cooked, and gather together all the dead man's kin, and eat him. And I assure you they do suck the very bones till not a particle of marrow remains in them...And so they eat him up stump and rump. And when they have thus eaten him they collect his bones and put them in fine chests, and carry them away, and place them in caverns among the mountains where no beast nor other creature can get at them. And you must know also that if they take prisoner a man of another country, and he cannot pay a ransom in coin, they kill him and eat him straightway.[7]
The German physician and geographer Franz Wilhelm Junghuhn visited the Batak lands in 1840-41. Junghuhn says about cannibalism among the Batak (whom he called "Battaer"):
- “People do the honest Battaer an injustice when it is said that they sell human flesh in the markets, and that they slaughter their old people as soon as they are unfit for work...They eat human flesh only in wartime, when they are enraged, and in a few legal instances.”
Oscar von Kessel visited Silindung in the 1840s and in 1844 was probably the first European to observe a Batak cannibalistic ritual in which a convicted adulterer was eaten alive. Interestingly, his description parallels that of Marsden in some important respects, however von Kessel states that cannibalism was regarded by the Batak as a judicial act and its application was restricted to very narrowly defined infringements of the law including theft, adultery, spying or treason. Salt, red pepper and lemons had to be provided by the relatives of the victim as a sign that they accepted the verdict of the community and were not thinking of revenge.[14]
Ida Laura Pfeiffer visited the Batak in August 1852 and although she did not observe any cannibalism, she was told that:
- "Prisoners of war are tied to a tree and beheaded at once; but the blood is carefully preserved for drinking, and sometimes made into a kind of pudding with boiled rice. The body is then distributed; the ears, the nose, and the soles of the feet are the exclusive property of the Rajah, who has besides a claim on other portions. The palms of the hands, the soles of the feet, the flesh of the head, and the heart and liver, are reckoned peculiar delicacies, and the flesh in general is roasted and eaten with salt. The Regents assured me, with a certain air of relish, that it was very good food, and that they had not the least objection to eat it. The women are not allowed to take part in these grand public dinners."[15]
Geography
To the south of North Sumatra are the Muslim Minangkabau of West Sumatra, while to the north there are various Muslim Acehnese peoples.
Traditional Batak religion
Various influences affected the Batak through their contact with Tamil and Javanese traders and settlers in southern Batakland, and the east and west coast near Barus and Tapanuli, in particular the large Padang Lawas temple complex in Tapanuli. These contacts took place many centuries ago and it is impossible to reconstruct just how far the religious ideas of these foreigners were adopted and reworked by the Batak. It is suggested that the Bataks adopted aspects of these religions, specifically Mahayana Buddhist, Shaivist, and Tantrist practices[2] within their own customs.[21]
The modern Indonesian state is founded on the principles of pancasila, which requires the belief in 'one and only God', the practice of either Protestantism, Catholicism, Islam, Buddhism or Hinduism, one of which must be entered on an individual's KTP. Traditional religions are not officially recognised, and accordingly traditional religions are increasingly marginalised, although aspects of the traditional Batak religion are still practised alongside Christianity, and, to a lesser extent, Islam.
Creation myths
There are many different versions in circulation. These were formerly passed down through oral tradition but have now been written down in the local languages. There are also large collections of Batak tales collected by European scholars since the mid-19th century and recorded in European languages, mostly Dutch.[22]At the beginning of time there was only the sky with a great sea beneath it. In the sky lived the gods and the sea was the home of a mighty underworld dragon Naga Padoha. The earth did not yet exist and human beings, too, were as yet unknown. All the surviving myths record that at the beginning of creation stands the god Mula Jadi Na Bolon. His origin remains uncertain. A rough translation of the name is the "beginning of becoming". The creation of everything that exists can be traced back to him. Mula Jadi lives in the upper world which is usually thought of as divided into seven levels. His three sons, Batara Guru, Mangalabulan and Soripada were born from eggs laid by a hen fertilized by Mula Jadi. Two swallows act as messengers and helpers to Mula Jadi in his act of creation. Their functions vary in the different versions. Mula Jadi begets three daughters whom he gives as wives for his three sons. Mankind is the result of the union of the three couples. Besides the three sons of Mula Jadi there is another god, Asiasi, whose place and function in the world of the gods remains largely unclear. There is some evidence that Asiasi can be seen as the balance and unity of the trinity of gods.
The ruler of the underworld, i. e. the primeval sea, is the serpent-dragon Naga Padoha. He too existed before the beginning and seems to be the opponent of Mula Jadi. As ruler of the underworld Naga Padoha also has an important function in the creation of the earth.
What all the six gods so far mentioned have in common is that they play a minor role in ritual. They do not receive any sacrificial offerings from the faithful and no places of sacrifice are built for them. They are merely called on in prayers for help and assistance.[23]
The origin of the earth and of mankind is connected mainly with the daughter of Batara Guru, Sideak Parujar, who is the actual creator of the earth. She flees from her intended husband, the lizard-shaped son of Mangalabulan, and lets herself down on a spun thread from the sky to the middle world which at that time was still just a watery waste. She refuses to go back but feels very unhappy. Out of compassion Mula Jadi sends his granddaughter a handful of earth so that she can find somewhere to live. Sideak Parudjar was ordered to spread out this earth and thus the earth became broad and long. But the goddess was not able to enjoy her rest for long. The earth had been spread out on the head of Naga Padoha, the dragon of the underworld who lived in the water. He groaned under the weight and attempted to get rid of it by rolling around. The earth was softened by water and threatened to be utterly destroyed. With the help of Mula Jadi and by her own cunning Sideak Parudjar was able to overcome the dragon. She thrust a sword into the body of Naga Padoha up to the hilt and laid him in an iron block. Whenever Naga Padoha twists in the fetters an earthquake occurs.
After the lizard-shaped son of Mangalabulan, the husband the gods intended for her, had taken another name and another form, Sideak Parujar marries him. Sideak Parujar becomes the mother of twins of different sexes. When the two have grown up their divine parents return to the upper world leaving the couple behind on the earth. Mankind is the result of their incestuous union. The couple settle on Pusuk Buhit, a volcano on the western shore of Lake Toba, and found the village of Si Anjur Mulamula. The mythological ancestor of the Batak, Si Raja Batak is one of their grandchildren.[24]
[edit] The tendi cult
- "Mula Jadi presents him with all kinds of things to choose from. If the tendi asks for ripe pepper, then the person whom he animates will be a poor fellow; if he asks for flowers, then he will live only a short time; if he asks for a hen, the person will be restless; rags indicate poverty; an old mat, lack of fame; a gold piece, wealth; plate, spear, medicine pot indicate that he will become a great chief or understand magic arts."
- "With Mula Jadi in the upper world is a mighty tree called Djambubarus. Mula Jadi has written on all its leaves. On one leaf is written 'many children', on others 'wealth' or 'respect' and so on. 'Contemptible life', 'poverty', 'wretchedness' are also written on the leaves. All the possible different fates of the person are entered on the leaves. Every tendi that wishes to descend to the middle world must first ask Mula Jadi for one of the leaves. Whatever is written on the leaf chosen by him will be his destiny in the middle world."
All Batak regard the loss of tendi as signifying a great danger for "body and soul". Tendi can be separated from their owners through inattentiveness, or as a result of black magic by a datu with evil intentions. In other words, the tendi is not tied to the body; it can also live for a time outside the body. The final loss of the tendi inevitably results in death. There are a variety of ideas about where exactly in the body the tendi dwells. It is present to a particularly high degree in certain parts of the body, especially the blood, the liver, the head and the heart. Sweat too is described as rich in tendi. It is believed that illnesses are connected with the absence of tendi, and the bringing back of the tendi is a main method of healing. The Karo, for instance, have gifts, called upah tendi (upah = wage, payment, gift), which they give to their tendi so that their tendi stay with them. These gifts may consist of a knife, a gong, a particular piece of clothing, a water buffalo or a small holy place. The gifts are carefully cared for in order to keep the tendi satisfied.[27]
Tendi love the sound of the surdam (a bamboo flute). If a tendi has abandoned the body of a patient, the playing of the surdam in the raleng tendi ritual can contribute to the tendi returning to the body of the sick person. It must be emphasized that only the datuk are in a position to interpret and influence people's tendi correctly. If their endeavors are unsuccessful, then clearly the tendi has chosen another destiny for itself.[28]
Death cult
At death the tendi leaves the human body through the fontanelle and the "death-soul" (begu) is set free. It is thought that the tendi vanishes and after the death of any human being only the begu continues to exist. The Batak believe that the begu continue to live near their previous dwelling (in a village of the dead which is thought to be situated not far from the cemetery) and that they may contact their descendants. Bad dreams, particular misfortune and such like may be signs that the begu of an ancestor is not satisfied with the behavior of its descendants. Any individual can attempt to pacify an enraged begu by means of food and drink offerings and prayers. If this does not work, a datu or a guru must be called in.[29] The begu are not immortal, since death also rules in the land of the dead: a begu dies seven times before it is changed into a straw and finally becomes earth.[30]The Batak believe that three categories of begu exist.[31] The bicara guru are the begu of stillborn babies or of babies who have died before teething. It is possible to turn bicara guru into guardian spirits if misfortune has befallen the family of the child shortly after its death. With the help of a guru sibaso, the bicara guru can be made the family's guardian spirit for which a shrine is provided and to which sacrifices are regularly made. Once a year the bicara guru is accorded a special feast, preceded by ritual hair washing.
The begu of members of the family who have had a sudden death (mate sada-uari) can also act as guardian spirits for the family. They include the victims of accidents, suicides, murder victims, or people struck by lightning. A shrine is built where they are venerated and where sacrifices are made. A third category consists of the begu of dead virgins (tungkup). Their graves, called bata-bata or ingan tungkup, are maintained for a long time by their relatives.
Burial traditions
Batak burial traditions are very rich and complex. Immediately after death various ritual actions are performed to make the begu understand that from now on its world is separate from that of its kin. Symbolically this is done by reversing the mat on which the corpse is laid out so that the body lies with its head at the foot of the mat. Thumbs and toes respectively are tied together and the body is rubbed all over with camphor and its orifices stopped with camphor, then it is wrapped in a white cotton cloth. During this perumah begu ceremony a guru sibaso declares to the begu of the deceased that it is definitely dead and must take leave of its relatives.Wealthier families have their coffins (Karo: pelangkah) made of the wood of the kemiri tree (Ateurites rnoluccana), carved in the shape of a boat, its bow decorated with the carved head of a hornbill, or a horse, or a mythical beast known as a singa. The lid is then sealed with resin and the coffin may be placed in a special location near the family's house until a reburial ceremony can take place (see below). Families that are not wealthy use simple wooden coffins or wrap the body in a straw mat.
The corpse is carried a few times round the house, usually by women, and then to the cemetery with musical accompaniment from the gondang orchestra and the continual firing of guns. At any crossroads the corpse is put down and eleven people go around it four times to confuse the begu. It is hoped that the begu will then be unable to find its way back to the village. When the funeral procession arrives at the cemetery the grave is dug and the corpse laid in it, flat on its back. Care is taken that the head lies towards the village so that, in the unexpected event that the body should get up, he or she will not be looking in the direction of the village. The bodies of datuk and those who have died from lightning are buried sitting up with their hands tied together. The palms of the hand are tied together and betel placed between them.[32]
[edit] Reburial
The burial tradition includes a reburial ceremony in which the bones of one's ancestors are reinterred several years after death. This secondary burial is known among the Toba Batak as mangongkal holi, among the Karo as nurun-nurun. In a ceremony lasting several days the bones of a particularly honored ancestor and those of his descendants are exhumed, cleaned, mourned and finally laid to rest again in a bone house known as a tugu or tambak:- "On the morning of the first day of the festival the graves in the cemetery are opened and the bones of the ancestors that are still there are removed. The unearthing of the skulls is presented as especially moving. The bones are collected in baskets lined with white cloth and then ritually cleaned by the women using the juice of various citrus fruits. The exhumation and cleaning of the bones is accompanied by the singing of laments. The bones are kept in the baskets in the tugu until the next morning, when the remains are wrapped in traditional cloths (ulos) and transferred from the baskets to small wooden coffins. After long speeches and a communal prayer the coffins are nailed down and placed in the chambers of the tugu. A feast consisting of meat and rice follows and traditional dances are performed.[33]"
The next level up from the sumangot is the sombaon, who are the spirits of important ancestors who lived ten to twelve generations ago. To raise a sumangot to a sombaon requires another great festival, a santi rea, often lasting several months, during which the inhabitants of the whole district come together. These powerful ancestor spirits offer protection and good fortune to their descendants, but the ceremony also serves to establish new kinship groups descended from the ancestor thus honored.[34]
Traditional Batak medicine
Both datuk and guru healers also practiced divination by consulting a pustaha, a handwritten book made of wood and bark in which were inscribed recipes for healing remedies, incantations and songs, predictive calendars, and other notes on magic, healing and divination written in poda, an archaic Batak shorthand. According to Winkler,[36] there were three categories of Pustaha based on the purpose of their usage:
- 1. Protective Magic, which includes diagnosis, therapy, medicinal mixes which have magical properties, such as amulets, parmanisan (love charms), etc.
- 2. Destructive Magic, which encompasses the art of making poison, the art of controlling or utilizing the power of certain spirits, calling the pangulubalang, and the art of making dorma (magical formulas for causing a person to fall in love).
- 3. Divination, which involves oracles (words of the gods), the wishes of the spirits, commands from the gods and from the spirits of the ancestors, and an almanac or calendrical system (porhalaan), and astrology to determine auspicious days and months to accomplish certain actions or goals.[37]
Among the most important healing ceremonies performed in Toba and Karo communities is that of recalling the jinujung, or personal guardian spirit. According to Toba and Karo cosmology, each person receives a jinujung in childhood or at puberty and they keep it for life unless they are unfortunate enough to lose it, in which case they will fall ill. In order to call the jinujung back, a female guru (guru sibaso in Karo) goes into a trance and the jinujung will enter into her and speak through her mouth. At this time the sick person or the family can negotiate ritual payment to entice it to return.[38]
Traditional healers are not powerful enough to cure illness due to the loss of a person's tendi (this falls under the jurisdiction of the datuk), however they do play a role in communicating with begu and influencing their behavior.[39]
Malim
Main article: Parmalim
Malim is the modern form of the Batak Toba religion. Practitioners of Malim are called Parmalim.[40]Non-Malim Batak peoples (those following Christian or Muslim faith) often continue to believe certain aspects of traditional Batak spiritual belief.
The 'Perodak-odak' movement among the Karo people in the 1960s was a reassertion of the traditional Karo religion, but has largely faded; a subsequent Karo movement to identify as Hindu was noted starting from the late 1970s in order to adopt, if only in name, one of the recognised religions of Indonesia, while in practice still following traditional beliefs.[41]
Abrahamic religions
Christianity
At the time of Marco Polo's visit in 1292 the people were described as "wild idolaters" who had not been influenced by outside religions, however by Ibn Battuta's visit in 1345 Arab traders had established river-ports along the northern coasts of Sumatra and Sultan Al-Malik Al-Dhahir had recently converted to Islam.Sir Stamford Raffles perceived the Batak lands as a buffer between the Islamic Aceh and Minang kingdoms, and encouraged Christian missionary work to preserve this.[42] This policy was continued by the Dutch, who deemed the non-Muslim lands the 'Bataklanden'.
In 1824 two British Baptist missionaries, Richard Burton and Nathaniel Ward, set off on foot from Sibolga and traveled through the Batak lands.[43] After three days' journey they reached the high valley of Silindung and spent about two weeks in the Batak region. Considering the shortness of their stay their account reveals very intensive first-hand observation. This was followed in 1834 by Henry Lyman and Samuel Munson from the American Board of Commissioners for Foreign Missions who met with a more hostile reception.[44] According to Ida Pfeiffer:
- "Some time before the arrival of the missionaries some Mohammedan priests had made their appearance in the country, accompanied by a band of armed men, and had forced them by fire and sword to accept their religion...When, therefore, the unfortunate Americans presented themselves as religious teachers, the Battakers imagined they were going to have a repetition of the same scenes, and resolving to be beforehand with their tormentors, they killed them and ate them up."[45]
The first German missionaries to the Lake Toba region arrived in 1861, and a mission was established in 1881 by Dr. Ludwig Ingwer Nommensen of the German Rhenish Missionary Society. The New Testament was first translated into Toba Batak by Dr. Nommensen in 1869 and a translation of the Old Testament was completed by P. H. Johannsen in 1891. The complete text was printed in Latin script in Medan in 1893, although H. O. Voorma describes the translation as “not easy to read, it is rigid and not fluent, and sounds strange to the Batak…[with] a number of errors in the translation.” [47]
The Toba and Karo Bataks accepted Christianity rapidly and by the early 20th century it had become part of their cultural identity.[48]
This period was characterized by the arrival of Dutch colonists and while most Bataks did not oppose the Dutch, the Toba Batak fought a guerrilla war that lasted into the early 20th century and ended only with the death in 1907 of their charismatic priest-warrior-king Si Singamangaraja XII, who had battled the Dutch during the First Toba War with both magic and weaponry.[49]
[edit] Batak churches
The Gereja Kristen Protestan Simalungun, originally part of the HKBP and preaching in Batak Toba language, eventually became a distinctively Simalungun church, adopting Simalungun customs and language, before finally incorporating as GKPS in 1963.
Islam
The Mandailing and Angkola people, occupying the southern Batak lands, came under the influence of the neighbouring Islamic Minangkabau people as a result of the Padri War (1821-1837).[42] Tens of thousands of Mandailing were forcibly converted to Islam, repudiating their traditional Batak faith. Some Mandailing had previously converted to Islam, but the Padri war was a watershed event, with the Padri Wahabbis suppressing traditional adat and promoting 'pure' Islamic faith. Over time Mandailing Islam, has been brought closer to the predominant Southeastern Shafi`i school of Islam as a result of Mandailing discourse with other Islamic practitioners and the practice of hajj, although traditional elements remain, such as dividing inheritance among all children, a Mandailing rather than Islamic practice. Islam caused the decline in importance of marga, with many Mandailing abandoning their marga in favour of Muslim names, much less so among the Angkola to their North.The advent of Islam also caused the relegation of the datuk to a medicine man, with traditional rice-planting ceremonies and other such remnants of traditional culture deemed incompatbile with Islam. The 'pasusur begu', a ceremony invoking ancestors to aid the community, was also suppressed. Other aspects of adat were however tolerated, with the Mandailing Islamic ideology placing adat on the same level as Islamic law, as in contrast with the Minang practice of placing Islamic law above adat. In more recent times, learned Islamic scholars (ulama) studying abroad, have suggested that many traditional Mandailing practices, such as the 'Raja' hereditary leaders, were in conflict with Islam, being indicative of 'pele begu'. The Islamist ulama were in conflict for authority with the Namora-Natora, the traditional village legal practitioners, who were influenced by adat as much as Islam.
Christian missionaries had been active among the northern Mandailing from 1834 onwards, but their progress was restricted by the Dutch government, who feared conflict between newly converted Christians and Muslims. In addition, the lingua franca of the government was Malay, associated with Muslims, as were government civil servants, creating the perception that Islam was the religion of modernity and progress. Missionaries determined that resistance among the Muslim Mandailing to Christianity was strong, and the missionaries abandoned them as 'unreachable people', moving north to evangelize the Toba.
At the turn of the 20th century, nearly all Mandailing and Angkola were Muslims. Despite this, the Dutch administration them as part of the Bataklanden, and therefore heathen or Christian. This perception was an inaccurate one, and many Mandailing strongly rejected the 'Batak' label.[53] Abdullah Lubis, writing in the 1920s, claimed that while the Mandailing followed Batak marga practice, they had never followed the Batak religion, and that the Mandailing people pre-dated the Toba, having acquired marga directly from 'Hindu' visitors. In the Dutch census, the Mandailing objected strongly to being listed in the census as 'Batak Mandailing'. Mandailing in Malaysia (who migrated in the years following the Padri war), had no such objection to their being deemed 'Malays', and indeed Malaysian Mandailing retain little of their distinct identity, partly due to a British colonial policy of rice-land ownership restrictions for all but Malay-speaking Muslims, and the disapproval of 'Batak' Muslim practices by the existing Malay Muslim population.
Other influences
Modern Batak people are subject to religious influences through marriage and migration. Formerly Christian villages may, through migration of Muslim outsiders, lose their explicitly Christian identity, with pork excluded from wedding feasts in favour of meats acceptable to Islam.
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