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Shamanic music
Shamanic music includes both music used as part of shamans' rituals and music that refers to, or draws on, this. A shaman's ritual is a ritual and not a musical performance, and this shapes its musical dimension. In shamanism the shaman has a more active musical role than the medium in spirit-possession. A shaman uses various ways of making sounds to which different purposes are ascribed. Of particular importance are the shaman's song and shaman's drumming. Recently in Siberia, music groups drawing on a knowledge of shamanic culture have emerged. In the West shamanism has served as an imagined background to musics meant to alter a listener's state of mind. Korea and Tibet are two cultures where the music of shamanic ritual has interacted closely with other traditions.
== Shamanic and musical performance ==
Although shamans use singing as well as drumming and sometimes other instruments, a shamanic ritual is not a musical performance in the normal sense, and the music is directed more to spirits than to an audience. Several things follow from this. First, a shamanic ritual performance is, above all, a series of actions and not a series of musical sounds.〔Mihály Hoppál, ''Tracing Shamanism in Tuva: A History of Studies'', in Mongush Kenin Lopsan, ''Shamanic Songs and Myths of Tuva'', Istor Budapest 1997 p 129 "...the struggle with the harmful spirits during which great drumbeats indicated that the shaman had driven a "steel arrow" for each beat into the spirits of sickness."〕 Second, the shaman's attention is directed inwards towards her or his visualisation of the spirit world and communication with the spirits, and not outwards to any listeners who might be present.〔Tim Hodgkinson, ''Musicians, Carvers, Shamans'', Cambridge Anthropology vol 25, no 3, (2005/2006) p 9."Sergei Tumat (a Tuvan shaman who had previously studied music): “When I shamanize, I'm not here, not in the place where I'm playing the dungur drum, it's just my material body that's there: I'm away with the spirits, that's where my total attention is. If someone touches me, tries to get my attention there in the yurt, that's dangerous, it would be like falling a long way: so it's completely different from playing music to an audience, where you have to be there, to be attentive to what your material body is doing, to everything I learned in music school...”"〕 Third, it is important for the success of the ritual that it be given its own clearly defined context that is quite different from any kind of entertainment. Fourth, any theatrical elements that are added to impress an audience are of a type to make the contact with the spirits seem more real and not to suggest the performer's musical virtuosity. From a musical perspective shamanic ritual performances have the distinctive feature of discontinuity. Breaks may happen because a spirit is proving difficult to communicate with, or the shaman needs to call a different spirit. Typically, phases of the performance are broken off abruptly, perhaps to be restarted after a gap, perhaps not.〔Carole Pegg, ''Mongolian Music, Dance and Oral Narrative'', University of Washington Press, 2001, p135-6〕〔Ronald Hutton, ''The Shamans of Siberia'', Isle of Avalon Press, 1993, p29 and p31〕〔Caroline Humphrey, ''Shamans and elders''. Oxford, OUP1996, p 235-7〕 The rhythmic dimension of the music of shamans' rituals has been connected to the idea of both incorporating the rhythms of nature and magically re-articulating them.〔Carlo Serra, (in Italian)''Ritmo e ciclità nella cultura sciamanica'', in Antonello Colimberti (ed) ''Musiche e sciamani'', Textus, Milan 2000, p67〕
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