The shamanic drum, namely the single-headed frame drum, originated in Siberia, together with shamanism itself thousands of years ago. Shamanic drumming is considered one of the oldest methods for healing and accessing inner wisdom. Practiced cross-culturally, this technique is strikingly similar the world over. Shamanic drumming uses a repetitive rhythm that begins slowly and then gradually builds in intensity to a tempo of three to seven beats per second. The ascending tempo will induce light to deep trance states. Shamans use intention and discipline to control the nature, depth and qualities of their trance experiences. They may progress through a range of ecstatic trance states until they reach the level that is necessary for healing to occur.
The act of entering an ecstatic trance state is called the soul flight or shamanic journey. During shamanic flight, the sound of the drum serves as a guidance system, indicating where the shaman is at any moment or where they might need to go. The drumbeat also serves as an anchor, or lifeline, that the shaman follows to return to his or her body and/or exit the trance state when the trance work is complete. When ready to exit the trance state, the practitioner simply slows the tempo of drumming, drawing consciousness back to normal.
The sound of the shamanic drum is very important. A shamanic ritual often begins with heating the drum head over a fire to bring it up to the desired pitch. It is the subtle variations in timbre and ever-changing overtones of the drum that allow the shaman to communicate with the spiritual realm. Part of the shaman's training involves learning to hear and interpret a larger range of frequencies than the normal person can. The shaman listens and finds the right tone, the right sound to which the spirits will respond. Through the many tones, pitches, and harmonics of the drum, the shaman communes with the subtle and normally unseen energies of the spirit world.
Tuvan shamans believe that the spirits of nature create their own sound world, and it is possible for humans to communicate with them through the sound of the drum. According to Tuvan ethnographer and former shaman Mongush Kenin-Lopsan, "We understand the spirits answers mostly from the tangible results of the communication, in terms of benefit or harm. But some people actually hear the spirits singing." Tuvan shamans use the drum to convey to the spirits of a place their greetings, any requests, and thanks. It is a spiritual practice designed to help human beings relate to all of nature. Tuva (southern Siberia) is one of the few places in the world where the shamanic heritage has remained unbroken.
Drumming opens the shaman's inner, spiritual ears and eyes and also calls the helping spirits. As Tuvan musicologist Valentina Suzukei explains, "By changing and listening to the frequencies and overtones of the drum, the shaman is able to send messages to, and receive them from, both the spirit world and the patient. For example, the shaman might use the overtones to send signals to the sky, where they provoke a voice from the cosmos; in turn, the cosmic signals are caught on the drum and reflected to the shaman through the creation of subsequent overtones."
The shamanic drum is a time-tested vehicle for healing and self-expression. A shaman may use the drum to address any number of health issues including trauma, addiction, depression, and chronic pain. Additionally, the shamanic techniques of extraction, soul retrieval, and journeying, can all be performed with the drum. According to Mariko Namba Walter and Eva Jane Neumann Fridman, authors of Shamanism: An Encyclopedia of World Beliefs, Practices, and Culture, "The drum is used in a variety of ways in shamanist rituals; it may serve as (1) a rhythm instrument, (2) a divination table, (3) a "speaker" for communicating with the spirits, (4) a spirit-catcher, (5) a spirit boat, (6) a purifying device, (7) the shaman's mount."
(2008), which is a new, revolutionary album which is different every time you play it. Infinity will not work in a standard CD player and requires a computer to play it. Each time the CD is played, supplied software remixes source material located on the disc and produces a new 20-minute musical piece. The music produced by the CD is eclectic improvising that is deeply rooted in Siberian shamanic music. John Cavanagh of The Herald in Glasgow said in a review of the album that even though he knew each listening was the result of a "computer triggered sequence," it always sounded like a "cohesive musical work, as though it was meant to be that way."