As implies from some surveys of anthropologists (e.g. M. Eliade), in the shamanic belief space is divided into three worlds: the lower one which is inhabited by the spirits hostile to people, the middle one, that is the earth inhabited by man, and the upper one in which there are spirits that help human beings. During a shamanic ritual, the shaman travels between them. A special drum and playing a steady rhythm on it that allows the shaman to enter a trance is the condition of this journey. Drum sounds bring in spirits that guide the journey to the underworld. These instruments are made exclusively of consecrated materials. The wooden frame is covered with skin of an animal totemic for a particular people. Some motifs symbolizing all the three worlds often appear on the membrane. The rhythm played on the drum is supposed to correspond to the drummer’s pulse, which allows the shaman to tune his brainwave to specific frequencies.
A characteristic feature of music associated with shamanistic rituals is onomatopoeia, it often imitates e.g. the sound of crying animals. As we learn from the works of anthropologist Jerzy Wasilewski, such rituals in Siberia may be accompanied by aliquot singing in which the singer uses the phenomenon of resonance when passing air through his voice ligaments and oral cavity. This makes the listener think that he can hear sounds at different heights simultaneously.
Music associated with the shamanic tradition is still a phenomenon intriguing anthropologists. It survived until the twenty-first century and today it can be found in the form of CD recordings.