Music serves as a key artistic space for testing with creativity. It supports a means by which one can maintain the creativeness throughout period while also allowing for spontaneity and variation. This paper checks the social and educational context of Igorot music disseminated by the Salidummay Cultural Group (SCG), the Petune (P), and the Living Anitos (TLA) in the Cordillera Administrative Region (CAR) of the northerly Philippines, drawing on Drout's (2006) work and hybrid similarity anchored in Berger and Luckman's (1966) Social Constructionism Theory (SCT) for allure theoretical orientations and also the idea of rhetorical view through anaphoric repetitions. This paper tries to illustrate how the chosen cultural bands use [indigenous] sounds that are pleasant, harmonized as a tool to navigate their Igorot positions through lyrical genres and approaches containing improvisations and anaphoric tropes. The three ethnic bands preferred were accepted and loved as skillful and motivated inventors descended from their Igorot ancestors, and it was further recognized that their enlightening roots play an important duty in developing their lyrical Igorot identities.
Author(s) Details:
Jonnelle D. Fagsao,
Mountain
Province State Polytechnic College, Bontoc, Mountain Province-2616,
Philippines.
Julie
Grace M. Docallas,
Mountain
Province State Polytechnic College, Bontoc, Mountain Province-2616,
Philippines.
Christie Lynne C. Codod,
Mountain Province State Polytechnic College, Bontoc, Mountain
Province-2616, Philippines.
Jennifer Ruth C. Tuazon,
Mountain Province State Polytechnic College, Bontoc, Mountain
Province-2616, Philippines.
Delia A. Sumeg-Ang,
Mountain
Province State Polytechnic College, Bontoc, Mountain Province-2616,
Philippines.
Please see the link here: https://stm.bookpi.org/RTASS-V9/article/view/12116
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