Divine Music, Myths, Ideals and Community – “fundamental part of evolution”: Celtic “Oran Mor”, Ancient Greek, Nada Brahman, T’boli, Blaan, Ilonggo

Myths, Ideals, & Divine Music: Ancient Greek, Nada Brahman, Blaan, Celtic “Oran Mor”; “Music is a fundamental part of our evolution” – Schulkin & Raglan + C Hall – music of H Potter bands “Similar to their heroes… musicians imbue their music…with morals – & ideals

The painting of Minerva is from Greek Mythology. “Music was an integral part of life in the ancient Greek world, and the term covered not only music but also dance, lyrics, and the performance of poetry. A wide range of instruments were used to perform music which was played on all manner of occasions such as religious ceremonies, festivals, private drinking parties (symposia), weddings, funerals, and during athletic and military activities. Music was also an important element of education and Greek drama performances held in theatres such as plays, recitals, and competitions.[1] I should add that is also true of T’boli and Blaan tradition as well

“It is only a narrow passage of truth that passes between the Scylla of a blue fog of mysticism and the Charybdis of a sterile rationalism.  There will always be full of pitfalls and one can fall down on both sides.”[2] – Wolfgang Pauli  

Wolfgang Pauli highlights the intrinsic dilemma between mysticism – holistic synthesis vs sterile rationalism. The materialist “rigid adherence” to quantification, which as McGilChrist emphasizes, “limits and restricts” possible analyses produce a sterile rationalism.[3]

Functional/Fruitful Spirituality vs the Supernatural

Brian D Josephson, a Nobel-prize winning quantum physicist – the only Welshman to earn the Nobel peace prize – observes, “With religion, focusing on the factuality or otherwise of religious belief similarly misses the point: the significant questions in this context relate to the functions and fruitfulness of religious beliefs.”  That is, scientists are fixated on the “supernatural.”[4]

Entangled in Abstractions

Briefly I would add that the “supernatural”, by definition, is ‘beyond the scope of scientific inquiry’ makes the “supernatural concept” a “loaded” term and thus a Definist fallacy. Kant, Iain McGilChrist and Muzafer Sherif agree that “real-world context-evidence” is necessary for any valid scientific theory – and by definition, the “supernatural” concept has ZERO real world context – NONE!  Yet, the “supernatural” concept is pervasive and appears in many dictionary definitions of myth and prophecy.  Even worst, the supernatural comes with baggage – such as powers, superstitious nonsense, magic, mental illness.

When I asked my partner, who is a Filipina Catholic, if “God is supernatural?” She replied, “Yes.” I explained from my research, Jesus Christ never once used the word “supernatural” in the gospels and the concept of the Holy Spirit in no way matches the “Supernatural” The seven gifts of the Holy Spirit are, according to Catholic Tradition, wisdom, understanding, counsel, fortitude, knowledge, piety, and fear of God.

Without doubt the supernatural maladaptive stereotype has distorted the thinking – and redirected the “selective attention” of millions of people to a meaningless, empty abstraction – a major maladaptive stereotype – and destabilized Christian ways of thinking.

Functional/Fruitful Spirituality

“Proper knowledge maps actualities of the real world!”[5] K Gergen

A rudimentary categorization of types of spirituality

• Spirituality of Compassion [6]

• Musical Spirituality [7]

• Spiritual Healing in Grieving [8]

• Children’s Spirituality [9]

• Artistic Spirituality [10]

• Poetry and Prophecy [11]

• Dream Weaving/Creative Transcendence [12]

• Spiritual beliefs in nature – earth as a living force

• Spirituality and Autism [13]

• pro-social norms

a. Filipino Kapwa (shared Identity) loob (relational will/equality) & bayanihan (community values) [14]

b. “Ubuntu” theology (Archbishop Desmond Tutu) The Bantu word “Ubuntu” mirrors Filipino “kapwa”![15]

c. Western “Relational Spirituality” D. Hay “we are persons not by individual right, but in virtue of our relation to one another” [16]

Musical Research – Spiritual and Social Self “Spirituality is a natural human predisposition. It is more primal than institutional religion and concerns a person’s sense of connectedness with self, others, and the world (or cosmos).”[17]  Anton Killin states, “Music is a fascinating topic for evolutionary theory, natural philosophy, and narrative construction: music is a highly valued feature of all known living cultures, pervading many aspects of daily life, playing many roles! The oldest known musical instruments appear in the archaeological record from 40,000 years”[18] Killin argues musical “capability” may date back to 275.000 years ago.

Myths & Music – Nada Brahman, Blaan, Celtic Oran Mor

Nada Brahman

Music has been a source of divine inspiration sicne the beginning of time. In Hinduism, creation originates from the cosmic sound Nada Brahman, or divine sound, which manifests as the universe. Brahma, the deity of creation, is often linked to the primordial sound Om and the first element, ether. Meanwhile, Shiva, associated with the drum damaru, is seen as the creator of music and dance. This divine sound is integral to all creation, from the formation of the world to the qualities of the musical notes and sacred

Sugilanon

Ilonggo music is deeply intertwined with their myths and folklore, especially the Sugilanon, which are oral literary works that include tales of ancestors and the origins of the world. Early Spanish chroniclers were amazed by Ilonggo songs about ancestral feats, noting how Ilonggo used music and song to preserve and transmit their history, culture, and mythology to younger generations.

T’boli music, known as “Utom”,

Utom is central to the cultural identity of the T’boli people of South Cotabato, Philippines, and serves to preserve their traditions, express emotions, and tell stories through a variety of traditional instruments and songs. Their music is deeply connected to nature and myths, mimicking natural sounds and often performed in community settings for entertainment, celebrations, and rituals like weddings. Key instruments include the hegelung (a two-stringed lute), klintang (a set of suspended gongs), kumbing (a bamboo jaw harp), s’loli (a traditional flute), and tenonggong (a deerskin drum).

Blaan Connection between Music and Spirituality

The Blaan and the T’boli long ago were one tribe and both are from South Cotabato, Philippines. Blaan creation stories, such as the tale of Melu, involve a supreme creator deity who shapes the world and its inhabitants, while their music is deeply integrated into their culture through various traditions like tabih weaving songs and ritual music involving bells on their clothing, serving to maintain tribal unity, honor ancestors, and express spiritual connections to nature. Weaving, a sacred art for the Blaan, has a strong spiritual connection, and songs are sung during the process, reflecting the intricate relationship between art, music, and spirituality

Celtic Oran Mor

“Oran Mor” (or Óran Mór) is a Scots Gaelic phrase meaning “The Great Melody” or “The Great Song” and is an important concept in Celtic mythology, referring to the primordial song that created and sustains the universe. It is also the name of a prominent arts and music venue in Glasgow, Scotland, that was formerly a church.[19] (The Place of Nature in Naturalist Spirituality – Part I September 22, 2022 by Gregory Gronbacher)

Oran Mór: The Primordial Celtic Myth by Frank Mills.

The primordial myth of Creation, common to all people, tells of a mighty melody – the very breath of the primordial god – that sang Creation into existence. To the Celts it was known as the Oran Mór1, “The Great Melody” a melody that did not cease with the initial creation, but goes on and on and on, inspiring Creation along its holy pilgrimage of giving and receiving blessing. It is this primordial myth that, like a Celtic knot, weaves throughout the entire corpus of the Celtic mythos, knitting an interwoven, cohesive mythology. The Oran Mór, as the primordial “sea melody,”2 flows through the myths and legends of submerged lands, mystical springs, life-giving cauldrons, and holy grails. As Wisdom it “fills the head,” and gives meaning to the severed heads that so disturbed Caesar. It is the “creative melody,” always creating, both in the hearer and in the one singing. It is the myth of Uaithne and Boand who bear the three strains of music: innocence, sorrow, and joy3 It is The Song of the Three Cauldrons giving and receiving creative blessing in its song. The words of the song are as diverse as there are people to hear it; always taking their meaning from their divinely breathed sound, never from that design which we impose

Music as Evolutionary Adaptive Trait: Spiritual & Social Self: “Since Darwin (1871), more and more scientists believe that human music must be a biological adaptation.”[20]

If I wasn’t a physicist, I’d probably be a musician. I often think about music. I am living my dreams in music. I see my life in terms of music. – Einstein

Musical Research provides a very salient counterpoint to the academic norms that “There is no psychology of groups”[21] (Allport 1927) and the materialist maxim that “All spirituality is unreal” due to the Materialist fallacy that spirituality is intangible and unmeasurable (Miller and Thorensen). See Critique of Materialist Methods + Researcher Bias[22] Besides music there are studies of compassion which show a correlation with spirituality. 

1. Peter Atkins: “Music is also fundamentally concerned with

Meaning (Cook, 1998a). 33 It has the capacity to communicate profound meaning, for it has been said by a philosopher to “express infinitely that which cannot be explained”[23] (Jankelevitch, 1983, p.71), or by a religious aesthetician, to bring order out of chaos, harmony to the soul and healing to spiritual pain, by bringing about a sense of the beyond that gives meaning and value to our lives (Mayne, 1987). But my point here is that it seems that music relates closely to spirituality because music transacts in the type of profound meaning that spirituality is. As Wuthnow (1998) put it, they have the mutual ability to deal with an essential yearning for inspiration that exists within humanity; the sense of meaning that accompanies spirituality.[24]

2.  Schulkin and Raglan:

Jay Schulkin, Greta B. Raglan observe that “Music is a core human experience and generative processes reflect cognitive capabilities. Music is often functional because it is something that can promote human well-being by facilitating human contact, human meaning, and human imagination of possibilities, tying it to our social instincts. Music is a fundamental part of our evolution – and functional because it facilitates “human contact” and out “social self!” [25]

3.  Ian Cross:

In Music and evolution, Ian Cross states: It seems likely that proto-musical capacities and their cultural particularizations as musics were crucial factors in precipitating and sustaining the social and cognitive versatility that mark modern humans (Cross, 1999).  In effect, musicality can be interpreted as complementing language in human evolution, filling in the ‘gaps’ in language function through its combination of embodiment, entrainment, and transposability of intentionality.[26]  (p. 5 – 6)

“Cross-culturally, at a first approximation, ‘musical’ behaviours involve not just patterned sound, but also overt action; ‘musicality’ is a property of communities rather than of individuals; and music is mutable in its specific significances or meanings.”[27] (p.1)

4.  Tianyan Wang states:

“Since Darwin (1871), more and more scientists believe that human music must be a biological adaptation (Wallin et al., 2001; Mithen, 2009)…. The social functions of music are so important, that many scientists argue that music originated and developed from social activities: strengthening the mother-baby connection (Dissanayake, 2000; Trehub, 2003) and social cohesion (Brown, 2000a; Freeman, 2000; Mithen, 2007). And there are also many hypotheses on the origins of musical emotions (Wallin et al., 2001; Brattico et al., 2009; Perlovsky, 2010; Altenmüller et al., 2013; Juslin, 2013; Patel and Iversen, 2014).”[28] 

“Morality and musical creativity in Harry Potter fandom”[29]

No period of history has ever been great or ever can be that does not act on some sort of high, idealistic motives, and idealism in our time has been shoved aside, and we are paying the penalty for it. Alfred North Whitehead

The contemporary-modern popularity of Star Wars and Harry Potter, and the numerous other imaginative fandoms, provide -= as sociological evidence – massive data and evidence of the existence of unconscious spiritual symbolism. Rhiannon Grant in The Sacred in Fantastic Fandom, Grant observes in 2001, the British government ran a regular census, but they included a new question about religion. In response, almost 0.8 percent of the total population said they were a “Jedi” or Jedi knight!”[30] (p. 38) Those results were repeated in Australia and New Zealand.

Catherine Hall, in her article, ‘Reading and [w]rocking’:  Morality and musical creativity in the Harry Potter fandom, observes, “Wizard rock, often stylized in written form as ‘wrock’, creatively engages with and augments the content world of Harry Potter through musically and lyrically diverse performances. Fan studies centred on Harry Potter have often discussed the application of fictional heroism to real-world issues, and wizard rock musicians are frequently cited as fandom activists. However, there is little analysis of the music, lyrics and performances of wizard rock as it relates to the moral messages of the series…… Similar to their heroes in the books, these musicians imbue their music and their self-images with the series’ morals, historical tropes and archetypes. They make this morality tangible by donating proceeds of compilation albums or music subscription series sales to nonprofit organizations, and by weaving these messages into their music. I argue that the wizard rock community’s application of fictional heroism through music, lyrics and performance encourages fellow Harry Potter fans to embrace heroic qualities in the real world.”[31]

(CATHERINE HALL Florida State University ‘Reading and [w]rocking’:  Morality and musical creativity in the Harry Potter fandom; Journal of Fandom Studies Volume 4 Number 2 © 2016 Intellect Ltd Article. English language. doi: 10.1386/jfs.4.2.193_)

Historically music has conveyed ideals and personal goals, as well as conventional protest music. American protest music has a long history, including songs from the Civil Rights Movement, World War I and II, and more recent years:

The music of the Civil Rights Movement was a mix of blues, jazz, and spirituals. Some examples include:

“I Wish I Knew How It Would Feel to Be Free”[32] by Nina Simone

“Selma March” by Grant Green

“A Change is Gonna Come”[33] by Sam Cooke

“We Shall Overcome”

“This land is your land” Bob Dylan

In the Philippines, besides music being traditionally associated – and still practiced – with religious festivals, OPM (Original Philippine Music) conveys cultural meanings, significance and identity which appears distinct from the rock and roll in western culture. OPM Historical and Political Expression: “OPM has played a crucial role in documenting the history and political climate of the Philippines. During times of social unrest and political upheaval, artists used their music as a medium to voice their grievances, advocate for change, and uplift the Filipino spirit. For instance, during the Martial Law era under President Marcos, songs emerged that carried subtle or veiled messages of resistance and empowerment.”[34]

Divine Inspiration in Music

“Music is the donum Dei, the gift from God, and therefore is only secondarily a human art or science.”[35] Martin Luther

The most ancient historical music – which were expressions of divine inspiration – comes from India – Hinduism “We worship Nada-Brahman, that incomparable bliss which is immanent in all the creatures as intelligence and is manifest in the phenomenon of this universe. Indeed, through the worship of Nada are worshipped gods Brahma, Vishnu, and Siva, since essentially they are one with it ´ . . . Nada is differentiated into twenty-two grades which, because of their audibility, are known as Srutis. From the Srutis arise the seven musical notes.”[36] Sangıta Ratnakara of Sarngadeva (13th century India)”

Greek Musical Origins: “For the ancient Greeks, music was viewed as quite literally a gift from the gods. The invention of specific instruments is attributed to particular deities: Hermes the lyre, Pan the syrinx (panpipes) and Athena the aulos (flute). In Greek mythology the Muses personified the various elements of music (in the wide Greek sense of the term) and were said to entertain the gods on Mt. Olympus with their divine music, dancing, and singing. Other mythical figures strongly associated with music are the god of wine Dionysos and his followers the Satyrs and Maenads. Amphion and Thamyres were both famed for their skills playing the kithara (guitar) whilst Orpheus was celebrated as a magnificent singer and lyre player. The Greeks believed music could have a beneficial effect on both the mind & body of the listener. The oldest surviving Greek musical instruments are bone auloi which date from the Neolithic Age (7th-4th millennium BCE) and were found in western Macedonia, Thessaly, and Mykonos.”  (World History Encyclopedia, Ancient Greek Music) 

Dr. Wong observes “The most beautiful thing we can experience is the Mysterious”[37] [Einstein]…. Awe is always a mixture of emotions, encompassing reverence, fear and a sublime sense of marvel and amazement. You may experience a tingling on your skin or a weakening of your knees. You may feel the stirring deep in your soul. As long as the spell lasts, you are transported from your mundane existence to a different realm filled with surprises and possibilities. Let’s begin with music, the invisible bridge to Heaven. After George Frederic Handel) had completed the “Hallelujah Chorus”, he exclaimed to his servant with tears in his eyes: “I did think I did see all Heaven before me, and the great God Himself!” Music had opened his inner eyes for God’s glory in spite of his blindness. Since 1742, whenever Handel’s Messiah is performed, the audiences automatically rise to their feet as they hear the majestic, awe-inspiring “Hallelujah Chorus”. 

Spirituality-Music in prehistory: T’boli creation myth

Manolete Mora observes, “An examination and interpretation of the making of Boi Henwu’s symbol within the context of the Lake Sebu creation myth is of considerable importance for the study of T’boli instrumental music. This myth alludes to important features of T’boli music making. Firstly, it points to underlying compositional components in instrumental music, and secondly, it indicates an intrinsic relationship between musical sound or pattern and extra-musical aspects. The expression of this relationship in the myth highlights a third important feature; namely, music as imitation or recreation of nature. A large portion of the instrumental repertoire is concerned with the imitation of natural sounds, and with the symbolic meanings ascribed to them. Finally, two additional key features or attributes of music making are indicated in the Lake Sebu myth. These are, firstly, the belief that music, like knowledge in general, is derived from the spirit realm through inspiration, and, secondly, the idea that instrumental music serves important social functions in courting and as a boundary marker in ritual.[38]

Social Consciousness & Social-Moral order

Point of order: Historically there is a correlation between Divine Myths and Ideals of Social-Moral Order. See Myths as Symbolic Maps of Social-Moral Order: Moses & the 10 Commandments, Ur-Nammu, Hammurabi Code, w/ Gods of Mesopotamia (Shamash, Marduk, Enki, Nabu, Inanna, Enlil, and Anu), + Zeus, Indra & E Halas: “groups exist [as] common symbolization [which] create a social order” vs myths as heroes[39]

“Social and Moral order encompasses the living, the dead, deities, and spirits:” Ramon Reyes emphasizes that early spiritual and religious beliefs in the Philippines were a “social and moral order”: “In sum, one social and moral order encompasses the living, the dead, the deities and the spirits, and the total environment.”[40] 

Paloutzian and Park (p. 12) state: “religion and spirituality are more or less coherent, culturally elaborated meaning systems embedded in and acquired through social relationships and institutions situated in complex natural and built environments.”[41]

Arctic Hunter Gatherer beliefs in animal spirits as “Human relationships with the natural world…”[42]  embedded in the Arctic Hunter Gatherer Society with social- family roles. Erica Hill emphasizes, “Their thoughts and actions established and maintained relationships with prey animals and may be more productively conceptualized as dynamic social behaviours embedded within the context of daily life than as privileged ritual acts.” Essentially, Erica Hill defines spiritual beliefs in this context human relationships with the environment. The emphasis is on the “human relationships” which is counterpoint to the “supernatural.”[43]

Conclusion: The impact of music on society is undeniable. It enriches our emotional lives, strengthens cultural ties, fosters community, drives economic growth, and serves as a catalyst for social change. In every note and rhythm, music resonates with the essence of what it means to be human. Music transcends language barriers, allowing people from diverse backgrounds to connect through shared emotions and experiences. Music celebrates the richness of human diversity, showcasing the unique sounds and styles of different cultures. Music provides an outlet for expressing feelings, whether it’s joy, sorrow, anger, or love. It can help us process emotions and find solace. Music is a fundamental part of cultural identity, reflecting traditions, beliefs, and values, and often convey historical significance, preserving stories, folklore, and cultural knowledge. Music is often central to social rituals, such as weddings, funerals, and festivals, marking important life events and strengthening bonds. Music has the power to unite people, fostering a sense of community and shared experiences. Collective Identity: Music can create a sense of collective identity, bringing people together around shared musical tastes and preferences.

---

[1] West, Martin Litchfield. Ancient greek music. Clarendon Press, 1992.

[2] Gieser, Suzanne. The innermost kernel: Depth psychology and quantum physics. Wolfgang Pauli’s dialogue with CG Jung. Berlin, Heidelberg: Springer Berlin Heidelberg, 2005.

[3] McGilchrist, Iain. The master and his emissary: The divided brain and the making of the western world. Yale University Press, 2019.

[4]  Josephson, Brian D. “Religion in the genes.” Nature 362, no. 6421 (1993): 583-583.

[5] Gergen, Kenneth J. “The social constructionist movement in modern psychology.”

[6] The Oxford Handbook of Compassion Science, Emma M. Seppälä, Emiliana Simon-Thomas, Stephanie L. Brown, Monica C. Worline, C. Daryl Cameron, James R. Doty Oxford University Press, Sep 26, 2017 –

[7] Foley, Edward. “Music and spirituality: A journey into porosity.” Religions 11, no. 10 (2020): 532.

[8] Park, Crystal L., and Roshi Joan Halifax. “Religion and spirituality in adjusting to bereavement: Grief as burden, grief as gift.” Grief and bereavement in contemporary society (2021): 355-363.

[9] Chi-Kin Lee, John. “Children’s spirituality, life and values education: cultural, spiritual and educational perspectives.” International Journal of Children’s Spirituality 25, no. 1 (2020): 1-8.

[10] Kärkkäinen, V., Kirsteen Kim, and Amos Yong, eds. Interdisciplinary and religio-cultural discourses on a spirit-filled world: loosing the spirits. Springer, 2013.

[11] Kugel, James L., ed. Poetry and prophecy: the beginnings of a literary tradition. Vol. 4. Cornell University Press, 1990.

[12] Ward, John T. 2024. “Dream Knowledge – Understanding the Dreamworld Utilizing the Medicine Wheel.” Journal of Global Indigeneity. 7 (1).

[13] Visuri, Ingela. “Varieties of supernatural experience: The case of high-functioning autism.” PhD diss., Södertörns högskola, 2019.

[14] Lagdameo-Santillan, Karina. 2018. “Roots of Filipino Humanism (1)”Kapwa”” Pressenza. July 24, 2018

[15] Battle, Michael. “A theology of community: The ubuntu theology of Desmond Tutu.” Interpretation 54, no. 2 (2000): 173-182.

[16] Macmurray, John. “Persons in relation.” (1961).

[17] Woolley, Richard, Brendan Hyde, and Kate Adams. The spiritual dimension of childhood. Jessica Kingsley Publishers, 2008.

[18] Mair, VICTOR H. “Prehistoric european and east asian flutes.” Studies in chinese language and culture: Festschrift in honour of christoph harbsmeier on the occasion of his 60th birthday (2006): 209-216.

[19] Gronbacher, Gregory. 2023. “The Place of Nature in Naturalist Spirituality – Part II.” The Spiritual Naturalist Society. April 25, 2023.

[20] Schulkin, Jay, and Greta B. Raglan. “The evolution of music and human social capability.” Frontiers in neuroscience 8 (2014): 292.

[21] Allport, Floyd H. “The group fallacy in relation to social science.” American Journal of Sociology 29, no. 6 (1924): 688-706.

[22] https://www.academia.edu/127905312/Critique_of_Materialist_Methods_Researcher_Bias_Kant_Sherif_and_McGilChrist_state_real_world_context_is_required_The_Maxim_that_spirituality_is_intangible_and_beyond_the_senses_Miller_and_Thorensen_is_wrong_on_several_levels_1_That_is_a_Definist_fallacy_2_There_are_tangible_spiritualities

[23] Jankélévitch, Vladimir. “Music and the Ineffable.” (2024): 1-200.p.71

[24] Atkins, Peter. “Music and the experience of the spiritual.” PhD diss., UNSW Sydney, 2012.

[25] Schulkin, Jay, and Greta B. Raglan. “The evolution of music and human social capability.” Frontiers in neuroscience 8 (2014): 292.

[26] Cross, Ian. “Music and evolution: Consequences and causes.” Contemporary music review 22, no. 3 (2003): 79-89.p.5-6

[27] Cross, Ian. “Music and evolution: Consequences and causes.” Contemporary music review 22, no. 3 (2003): 79-89.p.1

[28] Wang, Tianyan. “A hypothesis on the biological origins and social evolution of music and dance.” Frontiers in neuroscience 9 (2015): 30.

[29] Hall, Catherine. “‘Reading and [w] rocking’: Morality and musical creativity in the Harry Potter fandom.” Journal of Fandom Studies 4, no. 2 (2016): 193-208.

[30] Cusack, Carole M., John W. Morehead, and Venetia Laura Delano Robertson, eds. The sacred in fantastic fandom: essays on the intersection of religion and pop culture. McFarland, 2019.p.38

[31] Hall, Catherine. “‘Reading and [w] rocking’: Morality and musical creativity in the Harry Potter fandom.” Journal of Fandom Studies 4, no. 2 (2016): 193-208.

[32] Simone, Nina. “I wish I knew how it would feel to be free.” Silk and Soul (1967).

[33] Norris, Sue. “A change is gonna come.” The Financial Times (2016): 13-13.

[34] Shaw, Sterling V. Herrera. 2023. “OPM And Its Importance to Filipino Culture.” INQUIRER.Net, September 29, 2023.

[35] Luther, Martin. “Luther’s Works/16 Lectures on Isaiah, chapters 1-39.” Luther’s Works (1969).

[36] Ramanujachari, C. The spiritual heritage of Tyagaraja. Sri Ramakrishna Math, 2023.

[37] Einstein, Albert. The world as I see it. Open Road Media, 2011.

[38] Mora, Manolete. “The sounding pantheon of nature. T’boli instrumental music in the making of an ancestral symbol.” Acta Musicologica 59, no. Fasc. 2 (1987): 187-212.

[39] https://www.academia.edu/126279771/Myths_as_Symbolic_Maps_of_Social_Moral_Order_New_Approach_Babylon_Hammurabi_Code_Moses_Prophet_w_Gods_of_Mesopotamia_Shamash_Marduk_Enki_Nabu_Inanna_Enlil_Anu_Zeus_Indra_E_Halas_groups_exist_as_common_symbolization_create_a_social_order_vs_myths_as_heroes_archetypes

[40]  Reyes, Ramon C. “Religious experience in the Philippines: From mythos through logos to kairos.” Philippine Studies (1985): 203-212.

[41] Paloutzian, Raymond F., and Crystal L. Park, eds. Handbook of the psychology of religion and spirituality. Guilford Publications, 2014.p.12

[42] Hill, Erica. “Animals as agents: hunting ritual and relational ontologies in prehistoric Alaska and Chukotka.” Cambridge Archaeological Journal 21, no. 3 (2011): 407-426.

[43] Hill, Erica. “Animals as agents: hunting ritual and relational ontologies in prehistoric Alaska and Chukotka.” Cambridge Archaeological Journal 21, no. 3 (2011): 407-426.