0231 - Otherwordly Music
According to Carl Jung’s own account, after he was informed of his mother’s death, he experienced a very unusual auditory phenomenon: although he felt deep grief, he continually heard lively dance music, laughter, and merriment in his mind during his journey home as if a celebration or wedding were taking place. This occurred contrary to the sadness he would have expected and he described it as a striking contrast of emotions — warmth and joy vs. terror and grief. Hermetics+1
This description comes from Jung’s own writing on the topic of death and the psyche. He interpreted this paradoxical experience in psychological and symbolic terms rather than as literal external music — seeing it as an interplay between the ego’s reaction to loss and deeper, broader processes of the psyche. mystiek & filosofie
Here’s the relevant passage from Jung’s own writing:
After receiving news of his mother’s death, Jung took a night train home. Although he felt great grief, he noted something striking:
“During the entire journey I continually heard dance music, laughter, and jollity, as though a wedding were being celebrated.”
He said these gay melodies and cheerful laughter contrasted sharply with his sorrow — one part of him felt warmth and joy, another terror and grief, and he was pulled between these emotions. hermetics.net
This passage comes from Jung’s essay “On Life After Death,” where he reflects on the psychological and symbolic dimensions of death, grief, and the psyche. This “music” isn’t presented as literal external sound but as part of Jung’s inner experiential and emotional life immediately following the news.
Here’s the full original passage from Carl G. Jung’s essay “On Life After Death” where he describes what he experienced after hearing about his mother’s death:
*“News of her death came to me while I was staying in the Tessin. … I went home immediately, and while I rode in the night train I had a feeling of great grief, but in my heart of hearts I could not be mournful, and this for a strange reason:
during the entire journey I continually heard dance music, laughter, and jollity, as though a wedding were being celebrated. This contrasted violently with the devastating impression the dream had made on me. … One side of me had a feeling of warmth and joy, and the other of terror and grief; I was thrown back and forth between these contrasting emotions.” carljung.ru+1
In this account Jung clearly states that:
He was deeply shaken by the news of his mother’s unexpected death. carljung.ru
While traveling home, he “continually heard dance music, laughter, and jollity”—similar to a celebration or wedding—even though internally he was grieving. oldmis.kp.ac.rw
Jung himself sees this as a paradox between the ego’s reaction to loss and a deeper, symbolic response of the psyche. carljung.ru
This passage is frequently cited in discussions of Jung’s views on death, psyche, and symbolic experience, and is exactly the description you were asking about.
Jung’s interpretation of the “celebratory music”
Jung did not interpret the music literally (as a hallucination in the clinical sense), nor as evidence that he was “happy” about his mother’s death. Instead, he saw it as a symbolic reaction of the psyche that was independent of his conscious ego.
1. Ego vs. psyche
Jung believed the ego (conscious personality) and the psyche as a whole do not always react in the same way.
His ego experienced grief, shock, and terror.
Another, deeper layer of the psyche reacted with joy, warmth, and celebration.
He wrote that he was “thrown back and forth” between these opposing states — evidence, for him, that the psyche had its own autonomous reality.
2. Death as a symbolic “transition”
In Jung’s symbolic thinking, death is not only an end but also a transition.
Weddings, music, laughter, and dance are archetypal symbols of transition, union, and passage.
The psyche, he believed, was responding not to loss but to completion or transformation.
In other words, the unconscious was reacting as if something had been fulfilled, while the conscious mind was grieving separation.
3. The autonomy of the unconscious
This experience reinforced one of Jung’s central ideas:
The unconscious is not under the control of the ego and can produce meaningful experiences with their own emotional logic.
The music showed him that:
Psychic reality can contradict conscious expectations.
Meaning is not always aligned with conscious moral or emotional judgments.
The psyche may “know” something the ego does not.
4. Not pathology, but meaning
Jung explicitly did not classify this as illness.
Instead, he treated it as:
A numinous experience
A spontaneous symbolic response
Evidence of the objective psyche at work
He later cited this episode as one reason he rejected purely reductive explanations of inner experience.
Why this mattered to Jung
This single event became important because it:
Strengthened his belief in symbolic psychology
Supported his idea that death has psychological meaning beyond grief
Reinforced his lifelong exploration of life, death, and transformation
In short
✔️ Yes, Jung reported hearing celebratory music after learning of his mother’s death.
✔️ He understood it as a symbolic, autonomous reaction of the psyche, not happiness or madness.
✔️ For Jung, it illustrated how death can be experienced simultaneously as loss and completion.
This second volume of D. Scott Rogo's groundbreaking study of paranormal music experiences examines their relation to out of body experiences, survival after death, and other psychic phenomena. A Psychic Study of the Music of the Spheres also tackles the question of auditory hallucinations head on, and provides a fascinating theoretical discussion of how paranormal music is ""heard."" Finally, by applying the technique of pattern analysis to 58 cases of paranormal music experiences, Rogo is able to draw meaningful conclusions about the reality - and source - of this ""otherworldly"" music. ""I wish to state that I believe this book represents a very significant and pioneering study of a little-known psychical phenomenon of great importance."" - Raymond Bayless D.
Scott Rogo (1950-1990) was one of the most widely respected writer-journalists covering the field of parapsychology, as well as an active scientific investigator. Educated at the University of Cincinnati and San Fernando Valley State College, Rogo held a unique position in parapsychology and made many contributions to the field that deserve recognition. He served as a visiting researcher at the Psychical Research Foundation, then in Durham, North Carolina, and at the Division of Parapsychology and Psychophysics of the Maimonides Medical Center in Brooklyn, New York. He published papers on ESP in referred parapsychological journals and was active in field investigations of hauntings and poltergeists. Rogo was also a leading authority on the history of psychical research; the breadth of his historical knowledge of the field was unsurpassed. Over the course of more than two-dozen published books, Rogo sought to broaden the range of topics worthy of paranormal research. | A Psychic Study Of The Music Of The Spheres by D Scott Rogo, Paperback | Indigo Chapters
A Casebook of Otherworldly Music is a unique examination of an often-neglected subject-psychic music. The book was originally titled: NAD: A Study of Some Unusual "Other World" Experiences. What is NAD? It's a Sanskrit term signifying transcendental, astral, psychic, or paranormal music-music heard from no apparent source.
Ernest Bozzano signe là un ouvrage méthodique dans lequel il recense 110 cas qui ne mènent qu'à une conclusion : la survie de la conscience à la mort du corps physique est une réalité objective. Tour à tour, il étudie des cas d'apparitions de défunts à différentes étapes du processus fatal. Éliminant les hypothèses qui ne peuvent les expliquer il parvient à une conclusion logique qui s'impose à tout observateur objectif. Mais Il va plus loin puisqu'une importante partie de ce livre étudie un phénomène peu connu des sciences psychiques : la musique transcendentale. De formation positiviste, Ernest Bozzano s'est intéressé à la parapsychologie après une véritable crise de conscience. Il a évolué rapidement vers le spiritisme dont il a été un fervent militant. Membre d'honneur de l'Institut Métapsychique International, il a écrit de nombreux livres.
Table des matières
1. Des apparitions de défunts au lit de mort :
Cas dans lesquels les apparitions des décédés sont perçues uniquement par le mourant et se rapportent à des personnes dont il connaissait la mort.
Cas dans lesquels les apparitions de défunts sont également perçues uniquement par le malade, mais se rapportent à des personnes dont il ignorait la mort.
Cas dans lesquels d’autres personnes, collectivement avec le mourant, perçoivent le fantôme de défunt.
Cas d’apparitions au lit de mort, coïncidant avec des préannonces ou des confirmations analogues obtenues médiumniquement.
Cas dans lesquels les familiers du mourant sont seuls à percevoir les fantômes de défunts.
Exemples d’apparitions de défunts s’étant produites peu de temps après un cas de mort et perçues dans la maison où gît le cadavre.
2. Musique transcendentale :
Médiumnité musicale - Musique transcendentale à réalisation télépathique
Musique transcendentale due à des hantises
Musique transcendentale perçue en dehors de tout rapport avec des événements de mort
Musique transcendentale au lit de mort
Musique transcendentale qui se produit après un événement de mort
Exploring the paranormal through musical phenomena, this encyclopedia covers a range of anomalies, from musical mediumship to locations throughout the world where music has been heard with no obvious source. Other manifestations, such as the abilities of musical savants and the anesthetic use of music during surgical procedures, are included with a focus on paraphysical aspects. Entries describe examples from earliest history up to the present--interpretation is left to the reader. Broader themes and concepts are discussed in appendices, with additional references provided for further study.
The Paranormal, the new ebook series from F+W Media International Ltd, resurrecting rare titles, classic publications and out-of-print texts, as well as new ebook titles on the supernatural – other-worldly books for the digital age. The series includes a range of paranormal subjects from angels, fairies and UFOs to near-death experiences, vampires, ghosts and witchcraft. A series of essays on parapsychology and psychical research with special reference to the importance of music in paganism and witchcraft. The book is excellently researched using a myriad of sources including historical and first-hand accounts, relevant publications and of course the author's own thorough investigations.
This article explores the presence of music in different paranormal contexts: as the agent in extra sensory perception experiments and in other altered states of consciousness; where music is heard in the absence of any apparent source; and music allegedly communicated through mediums by dead composers and musicians.
ESP Experiments
The ‘ganzfeld’ technique was first introduced to the field by psi experimenter Charles Honorton, who suggested that psi functioning is enhanced when the receiver is ‘in a state of sensory relaxation and is minimally influenced by ordinary perception and proprioception’.1 To test this, he conducted an experiment which subjected participants to sensory deprivation and, in this state, asked them to try to identify pictures that a ‘sender’ at a distance was attempting to transmit.
Of the available methods of sensory deprivation, the ganzfeld (whole field) technique – although not specifically developed for this purpose2 - is widely accepted as being the most conducive to the manifestation of ESP.3 This uses sensory masking, achieved by placing the subject in a field of diffused red light and playing white noise played through headphones, while he or she sits or lies comfortably. This greatly reduces the number of sensory cues, allowing subconscious thoughts and feelings to manifest.
In a 1997 report, American parapsychologist Kathy Dalton drew links between creativity and psi in ganzfeld sessions using musicians, artists, creative writers and actors. 4 In her experiment the musicians in particular scored significantly above chance. Further results suggested that dynamic targets might be more conducive to the production of psi than static ones, 5 while results of experiments by Dutch parapsychologist Dick Bierman suggested that emotional targets might be similarly productive. 6
Experiments using music as the sending target have not often been carried out. Brief reports of the use of music appeared in the Journal of Parapsychology7 and in the Parapsychology Bulletin;8 however, the ganzfeld procedure was not used and the participants listened on to simple melodies played on a variety of instruments, precluding the possibility of an emotional response from the sender. The results were those expected by chance. HH Keil conducted tests at Duke University using music as the sending agent9, but again the ganzfeld procedure was not used and the music was chosen by the subjects themselves. Further to this, an exploratory study was designed by Altom and Braud10 to determine whether the use of musical targets raises any unique difficulties.
Melvyn Willin undertook trials between 1994 and 1996 in several different locations,11 exploring the relationship between music and telepathy in a controlled environment. Many receivers ‘heard’ music that was being sent to them telepathically, although since they understood the nature of the experiment this was to be expected. However, few were willing to communicate what they heard in song. Instead they gave general information such as: ‘I can hear string music’ and ‘I can hear drums beating’, while pitch and timbre were spoken of in similarly general terms. Where receivers scored most highly was in their recognition of the ‘feel’ of the music rather than in specific terms.
The results were analysed according to a number of factors, such as the pairings in terms of gender and relationship, the professions of the participants, and the music chosen.12 (Statistical analysis was only applied to data where the numbers involved were sufficiently large. In calculating the standard deviation used in the z scores, N rather than N-1 was used, since the results applied only to the population of the individuals taking part in the experiment.) The results indicated that women were more likely than men to score hits in the roles of both receiver and sender. Men achieved a higher hit rate when participating as senders, although not when other men acted as receivers.13Friends were more likely to achieve positive results than any other relationships.
The professions of the receivers reflected the variety of their backgrounds and included teachers, students, administrative workers and self-styled housewives. There was similar diversity of ages. There was a falling-off effect during the experiment with the first ten trials achieving a 50% hit rate (z = 1. 92); the final ten trials dropped to 10% (z = -1.03). In each of the trials there was a possibility of any one of four pieces of music, labelled a, b, c, or d, being the target piece once the tape had been randomly selected. The music receiving the highest number of hits (29%) was from the a group, which consisted of more emotional and programmatic music.14 There was an overall hit rate of 24% where chance would have indicated 25% which is not therefore statistically significant.
A further experiment was undertaken in 1996, using selected participants from the initial experiment who had achieved noteworthy scores. This aimed to investigate the possibility that certain individuals might have sensitivity in ESP, however the results were inconclusive, with the exception of one pair of participants who scored five hits in six trials.15
Music and Altered States of Consciousness
Near-Death Experiences
Music is often reported in accounts of the so-called ‘near-death experience' (NDE). Music is used in a therapeutic context, and by influencing the electro-conductivity of the body, is thought by some to act as a bridge between the ‘real and the unreal’ (the ‘conscious and the unconscious’), bringing about personal transformations.16 17
Composers have sometimes chosen death as a source of inspiration, in works such as Death and the Maiden by Franz Schubert, Death and Transfiguration by Richard Strauss and The Island of the Dead by Serge Rachmaninoff. In Edward Elgar’s The Dream of Gerontius, the text by Roman Catholic Cardinal John Newman tells the story of a man’s death and his soul’s journey into the next world.
Music is often heard at the time of a person’s death18 An example is the ‘Eton College Case’:19 a report sent in 1884 to the Society for Psychical research by one of the school’s teachers regarding the death of his mother three years earlier. The writer stated that immediately after she died, ‘low, soft music, exceedingly sweet, as of three girls’ voices’, was heard by several people present.20 Similar examples are to be found in the literature of the Society for Psychical Research, the College of Psychic Studies and other sources.21
Parapsychology author D Scott Rogo22 gives examples reported by previous authors such as Robert Crookall in the 1960s and Raymond Moody in the 1970s, along with some of his own discovery23. He believed that the lack of intimacy caused by the hospitalisation of death tended to inhibit such occurrences; also that few researchers sought them out.
British NDE researcher Margot Grey24 found that 11% of NDErs in her study heard the ‘music of the spheres’. While Gilles Bèdard spent five months on the brink of death with Crohn’s disease in 1973, he heard powerful music. Striving afterwards to reproduce it, he found the nearest he could get was a combination of Tangerine Dream’s ‘Mysterious Semblance at the Strand of Nightmares’, from the album Phaedra, and Steve Roach’s ‘Structures from Silence’.25
An enquiry by Melvyn Willin in 2009 led to the discovery of a railway accident survivor who found himself subsequently inspired to record his experience in art and music, even though he had no previous experience in the classical genre.26
Other relatively recent examples have included the experiences of the violinist Paul Robertson, who heard ‘ragas’ when he believed himself close to death, and John Tavener’s Towards Silence, a complete work devoted to the subject that received its first public performance on 6 July, 2009 in Winchester Cathedral.27
Comments by these and others suggest that they sensed rather than heard the music, and that words are generally inadequate to explain it. Nevertheless, they concur that it appears to be caused by some external agent.
Other Altered States
Many composers have emphasised the importance of mystical experiences in the creative process, referring either to God or to an unnamed mystical source. Brahms stated: ‘Straight away the ideas flow in upon me, directly from God … measure by measure, the finished product is revealed to me when I am in those rare, inspired moods’.28 Puccini talked of ‘a supernatural influence which qualifies me to receive Divine truths’.29 Wagner envisioned himself lying at the bottom of the Rhine, whereupon the opening music of Das Rheingold came to him. Bruch and Berlioz both spoke of musical ideas coming to them in dreams.30 Tartini wrote of the ravishing music that came to him at a dream, and which he tried in vain to reproduce:
[It] is indeed the best that I ever wrote, and I still call it the "Devil's Trill", but the difference between it and that which so moved me is so great that I would have destroyed my instrument and have said farewell to music forever if it had been possible for me to live without the enjoyment it affords me. 31
Musicians also frequently feel inspired to perform far beyond their normal capacity, as the English concert pianist John Lill has described at length32. Trance states enhanced or instigated by music are commonplace in ritual and shamanistic practices.33 In an investigation by Willin, a lightly entranced musician was temporarily able to play his instrument to a standard far beyond his normal capability (he attributed this to a previous life when he believed himself to possess the appropriate advanced technique).34
However, the ability of music to lead directly to altered states of consciousness is uncertain. The psychology of music is well represented by academics such as Eric Clarke (Heather professor of music, Oxford University) and John Sloboda (research professor, Guildhall of Music, London). The power of music to heal, both within and outside of music therapy, is also controversial.35
Music Heard in the Absence of a Source
References to anomalous ‘Angelic music’ are frequently found in early manuscripts.36 However, they should be viewed with caution: the suggestion of an external origin may have been inserted by translation, where this was not originally meant, while authors of a deeply religious or mystical nature may have externalised an aspect of deeply held beliefs.
Historical references to apparitional or hallucinated music are not limited to choral phenomena. The Protestant reformer John Calvin stated that on December 9, 1562, he heard ‘a very loud sound of drums used in war’, even though nothing of the kind was to be seen anywhere around.37 At this moment - unknown to him – a Protestant army supported by Swiss mercenaries was suffering a bloody defeat at the Battle of Dreux in northern France.
A famous instance of inexplicable drumming is the case known as ‘The Drummer of Tedworth’ which allegedly produced poltergeist characteristics, and also gave rise to music from an unknown source, reported by Joseph Glanvill, a chaplain to Charles II and a Fellow of the Royal Society. 38
Another well-documented episode was the alleged time-slip experienced in 1901 by CAE. Moberly and EF Jourdain, respectively Principal and Vice-Principal of St Hugh’s College, Oxford, on a visit to the Palace of Versailles. On their way to visit the Petit Trianon they became lost and experienced feelings of depression. After various strange occurrences, they heard ‘faint music, as of a band, not far off’.
It was playing very light music with a good deal of repetition in it. Both voices [spoken] and music were diminished in tone, as in a phonograph, unnatural. The pitch of the band was lower than usual. The sounds were intermittent.’39
Music is a frequent feature in reports of hauntings, in castles, churches and abbeys, palaces and country houses, inns, and so forth, although these are generally uncertain. Reports of castle haunts that involve music include Herstmonceaux, Hailsham, East Sussex, Duntrune Castle, Kilmartin, Argyl, Culzean Castle, Maybole, Ayr and many more.) 40 Well-documented cases in religious locations41 include the Abbey of Jumieges in France,42 Borley Church in Essex and St Albans Abbey.43 The reported sounds include church organs, bagpipes (in Scotland), drums and harps, church bells, chanting and whistling.
The music heard in country houses and palaces is more varied, ranging from harpsichord music being reported in Sandford Orcas, Sherborne, Dorset to a trumpet blast in the cellar of the Treasurer’s House, York.44 Reports relating to pubs and inns include piano music at the Crown Hotel, Poole, Dorset and the sounds of violin music at the White Hart, Chalfont St Peter, Bucks.45
There are many reports of anomalous music heard in outdoor locations such as seascapes, lakes and pools, rivers, wells, hills and mountains (often in the realm of folklore, where fairies or mermaids are said to be the performers.46) Sunken bells make up the majority of the water-based locations, such as Dunwich, Suffolk, Walton-on-the-Naze, Essex and Tunstall Pool, Norfolk. Singing can allegedly be heard at, for example, Cley Hill, Warminster, Wiltshire.
Little research has been carried out into the ability of the brain to ‘hallucinate’ music. One tantalising clue comes from the work of the Canadian neurosurgeon Wilder Penfield, who found that electrical stimulation of the sensory cortex in some of his patients caused musical sensations, which the patient was able to discuss.47 It may be speculated that the brain centres that cause such sensations may be stimulated by external events.
Mediumistic Music
Several people – not all of them mediums - have described being in direct contact with the spirits of departed composers and performers, and playing new compositions which they say were channelled through them. One was the nineteenth century medium Daniel Home who, in addition to ‘remotely’ playing instruments in conditions that precluded conjuring, is said also to have occasioned music from unknown sources.48 The French musical medium George Aubert - who claimed a very limited ability to play the piano, and little interest in music - was able in an entranced state to play works he said were dictated to him by Chopin, Schumann, Rubinstein, Mozart, Glinka, Liszt, Schubert, and especially Beethoven and Mendelssohn. 49 Experiments with Aubert were carried out at the Institut General Psychologique.50
Other musical mediums provided documentary evidence of their own experiences. Emma Hardinge Britten (1823-1899) said a cantata called The Song of the Stars that she wrote for her choir came to her when she was in an inspired state.51 Jesse Shepard (1849-1927), the most celebrated musical medium of the late nineteenth century and early twentieth century, who performed for the nobility in many countries, 52 claimed to be possessed by the spirits of Mozart, Beethoven, Meyerbeer, Rossini and other composers; one of his feats was an ability sing through the whole range from bass to soprano.53
Contact from dead composers is also alleged to have been to people who did not otherwise have mediumistic ability. Florizel von Reuter (1890-1985), a professional violinist, said that whilst attending a séance the spirit of Paganini manifested itself to him, and that other spirit contacts followed.54 A Yorkshire vicar, Charles Tweedale, received information supposedly from Stradivarius concerning the details of the varnish he applied to his famous violins.55 The concert violinist Jelly d' Aranyi (1895-1966) said she received advice from the spirit world concerning her performance of a Bach sonata, and that in March 1933 she was contacted by the spirit of Robert Schumann via a ouija board and informed that she should find and play a posthumous work by the composer for violin and piano. Various scores were found which related to the lost concerto, confirming for Jelly what she had been told concerning the work’s completion.56
During the 1970s, several mediums claimed to be in contact with deceased composers and to be channelling their music. Clifford Enticknap believed he was a channel for Handel’s music, and wrote an oratorio called Beyond the Veil, loosely in the style of Handel.
The most prominent twentieth-century of the music medium is Rosemary Brown (1916-2001). She described the Hungarian composer Liszt appearing to her one day, and taking over her hands to play music not of her creation. During a period of approximately twenty years she produced a stream of music allegedly dictated to her by a variety of dead composers. The authenticity of Brown’s music has aroused considerable controversy, some experts considering them simple pastiches, others praising their quality.57 58
The authenticity of the claims is seldom acknowledged. With the exception of Jelly d’ Aranyi, none is mentioned in the current edition of the New Grove Dictionary of Music.
Investigations of modern musical mediums
In the 1999s, Melvyn Willin reported an investigation of one woman and five men who claimed contact with dead composers and performers. The subjects were interviewed and their music, where appropriate, was analysed and discussed by professional musicians.59
M’s Bax work was of a superior quality. The music made by the other participants was generally of good amateur quality, however none compared favourably with the music of the composers alleged to have dictated it. Mediums blamed the transmission from the spirit world to the material world, also the limitations of their own brains, which they said obstructed the process to the detriment of the music. However, on some occasions the music or performance were felt to be exactly in accordance with the spirits’ wishes, and yet even in such cases the results remained unconvincing. As psychologist John Sloboda said of Rosemary Brown in an assessment of her music, they seemingly lacked any of the ‘vision’ that the composers showed in such abundance during their lives.60
On the other hand, whether the professed beliefs of these musical mediums is grounded in fact, self-deception or deliberate fraud, it is clear that they have achieved results beyond what might be expected given the limitations of their training and musical knowledge.
Most seemed certain that dead composers were attempting to bring new music into the world through their intermediary mediumship. Most did not seek financial gain, but did look for public recognition. Some insisted on their relative lack of musical training; however there were examples of childhood piano lessons and considerable practice during adulthood. Willin speculated that the activity filled an emotional gap in these individuals’ later lives, perhaps further stimulated by a sense of life nearing conclusion.
A possible reason for the claims of spirit dictation could be a desire for a feeling of personal importance, since an amateur musician writing a pleasant piece of music does not have the same impact on friends or the general public as the claim of divine intervention. Also, criticism of the music could be deflected towards the spirit composer or transmission problems rather than needing to be responded to on a personal level.
Melvyn Willin
Literature
Abell, A. (1955). Talks with Great Composers. London: The Psychic Book Club.
Alvin, J. (1975). Music Therapy, 85. London: Hutchinson.
Barrett, W. (1986). Death-Bed Visions. Northants: Aquarian Press.
Bèdard, G. (2009). www.globalideasbank.org/ LA/LA-12.html.
Blackmore, S. (1993). Dying to live. London: Grafton.
Bozzano, E. (1943). Musica Trascendentale. Verona: L’ Albero.
Godwin, J. (1987). Music, Mysticism and Magic. London: Arkana.
Grof, S. & Halifax, J. (1977). The Human Encounter with Death. London: Souvenir.
Grey, M. (1985). Return from Death: An exploration of the near-death experience. Boston: Arkana.
Gurney, E., Myers, F. W. H., & Podmore, F. (1886). Phantasms of the Living (2 vols.). London: Trübner.
Light (1881) October 29; (1884) April 26; (1905) October 28.
Light (1921). April 16; April 30; May 14; June 11; September 24.
Rogo, D. S. (1970). NAD: A Study of Some Unusual ‘Other-World’ Experiences. New York: University Books Incorporated.
Rogo, D. S. (1972). NAD Volume 2: A Psychic Study of the ‘Music of the Spheres’. New Jersey: University Books Inc.
Rogo, D. S. (1989). The Return from Silence. Northants: Aquarian Press.
Stobart, H. (2000). ‘Bodies of sound and landscapes.’ In Gouk, P. (ed.) Musical healing in cultural contexts, 35. Aldershot: Ashgate.
Tavener, J. (2009). Towards Silence. Programme note. Art and Mind Festival, Winchester.
Willin, M. J. (1999). Paramusicology: An investigation of music and paranormal phenomena. PhD thesis, Music Department, University of Sheffield.
Willin, M. J. (2005) Music, Witchcraft and the Paranormal. Ely: Melrose Press.
References
1.Honorton, C. 1977: 'Psi and Internal Attention States', in (ed.) B. B. Wolman Handbook of Parapsychology. 435-468. Jefferson, N. C. and London: McFarland & Co. Inc.
2.Honorton, 1977.
3.Honorton et al. 1990: 'Psi communication in the ganzfeld', in Journal of Parapsychology, 54: 99-139.
4.Dalton, K. 1997: 'Exploring the Links: Creativity and Psi in the Ganzfeld', in Proceedings of the 40th Annual Convention of the Parapsychological Association, August 7-10: Brighton.
5.Honorton et al. 1990.
6.Bierman, D. J. 1995: 'The Amsterdam Ganzfeld Series III & IV: Target Clip Emotionality, Effect Sizes & Openness', in Proceedings of the 38th Parapsychology Convention. Bierman, D. J. 1997: 'Emotion and Intuition I, II, III, IV, V: Unravelling Variables Contributing to the Presentiment Effect', in Proceedings of the 40th Parapsychology Convention.
7.Shulman, R. 1938: 'An experiment in ESP with sounds as stimuli', in Journal of Parapsychology, 2: 322-325.
8.George, R. 1948: 'An ESP experiment with music', in Parapsychology Bulletin, 11: 2-3.
9.Keil, H. 1965: 'A GESP test with favourite musical targets', in Journal of Parapsychology, 29: 35-44.
10.Altom, K. and Braud, W. G. 1976: 'Clairvoyant and telepathic impressions of musical targets', in Research in Parapsychology, ed. J. D. Morris, W. G. Roll and R. L. Morris 1975: 171-174. Metuchen, N. J.: Scarecrow Press.
11.A full description of the experiment can be found in Willin, M.J. 1996:‘A ganzfeld experiment using musical targets’ in Journal of the Society for Psychical Research (hereafter JSPR), 61, 842: 1-17.
12.For a full analysis see Willin, M. J. 1999: 47-70.
13.Willin, M. J. 1999: 48
14.Willin, M. J. 1999: 57
15.Willin, M. J. 1996: ‘A ganzfeld experiment using musical targets with previous high scorers from the general public’ in JSPR, 61, 843: 103-8.
16.Stobart, H. 2000: ‘Bodies of sound and landscapes’ in Gouk, P. (ed.) Musical healing in cultural contexts: Aldershot: Ashgate: 35.
17.Alvin, J. 1975: Music Therapy. London: Hutchinson: 85.
18.Barrett, W. 1986: Death-Bed Visions. Northants: Aquarian Press: 96.
19.Gurney, E. 1886: Phantasms of the Living, Vol. II. Society for Psychical Research: 639.
20.Gurney, E. 1886: Phantasms of the Living, Vol. II. Society for Psychical Research: 639.
21.For instance, Society for Psychical Research Proceedings, 1885, Vol. III: 92; Light, 1921, 14 May: 312; Bozzano, E. 1943: Musica Trascendentale. Verona: L’ Albero; Grof, S. and Halifax, J. 1977. The Human Encounter with Death. London: Souvenir.
22.Rogo, D. Scott 1970: NAD: A Study of Some Unusual ‘Other-World’ Experiences. New York: University Books Incorporated; Rogo, D. Scott 1972: NAD Volume 2: A Psychic Study of the ‘Music of the Spheres’. New Jersey: University Books Incorporated.
23.Rogo, D. Scott. 1970; 1972.
24.Grey, M. 1985: Return from Death: An exploration of the near-death experience. Boston: Arkana.
25.Bèdard, G. 2009: www.near-death.com/music.html.
26.The resulting composition was by David Ditchfield: The Divine Light. See Willin, M. J. 2011: ‘Music and Death: An exploration of the place music has at the time of human death, with special emphasis on the Near-Death experience’, Paranormal Review, 58.
27.Explored in the Radio 4 programme Healing Ragas. First aired 14 July, 2009.
28.Klimo, J. 1987: Channeling. Investigation on receiving information from paranormal sources. Los Angeles: Tarcher: 314.
29.Abell, A. 1955: Talks with great composers. London: The Psychic Book Club: 116.
30.Ibid. and cited in Henson, R. A. ‘The Language of Music’ in Music and the Brain. London: Heinemann.
31.Jérôme Lalande, Voyage d'un François en Italie (1765).
32.In Willin, M. J. 1999: ‘PhD thesis, Music Department, University of Sheffield’. Paramusicology: An investigation of music and paranormal phenomena.
33.For instance, Rouget, G. 1985: Music and Trance. Chicago: University of Chicago Press; Howard, K. 2000: 'Shamanism, Music, and the Soul Train', in Music as Medicine. The History of Music Therapy since Antiquity, ed. Horden, P. Brookfield, USA: Ashgate.
34.Private documentation. Similar work was undertaken by Vladimir Raikov, a Russian psychiatrist in the 1960s.
35.For numerous references see Storr, A. 1992: Music and the Mind. London: HarperCollins; Tame, D. 1984: The Secret Power of Music. Northants.: Turnstone Press Ltd.; Summer, L. 1996: Music: The New Age Elixir. New York: Prometheus Books.
36.For instance, see Godwin, J. (1987). Music, Mysticism and Magic. London: Arkana
37.Cited in Inglis, B. 1985: The Paranormal. London: Guild Publication: 50.
38.Saducismus Triumphatus: Full and Plain Evidence Concerning Witches and Apparitions (London, 1681, but first published in 1666).
39.Jourdain, cited in Coleman, M.H. 1988: The Ghosts of the Trianon. Northants.: Aquarian Press: 30-31.
40.For a much expanded list see Willin, 1999.
41.McEwan, G. J. 1989: Haunted Churches of England. London: Robert Hale.
42.JSPR, Vol. 17, December 1915.
43.See Willin, 1999.
44.Willin, 1999.
45.Willin, 1999.
46.Hippisley Coxe, A. D. 1975: Haunted Britain. London: Pan Books Ltd.
47.Penfield, W. cited in Blackmore, S. 1993: Dying to live. London: Grafton.
48.Shepard, L. A. 1984: Encyclopaedia of Occultism and Parapsychology. Detroit: Gale Research Company.
49.Annals of Psychic Science. 1906. London: 130.
50.Annals of Psychic Science. 1906. London: 131.
51.Britten, E.H. 1900: The Autobiography of E. H. Britten, ed. M. Withinson. Manchester.
52.Wisniewski, Prince A. 1894: The Journal of Light. 28 April. London.
53.Campbell Holmes, A. 1925: The Facts of Psychic Science and Philosophy. London: Keegan Paul.
54.von Reuter, F. 1931: A Musician Talks with Unseen Friends. London: Rider & Co.
55.Tweedale, C. 1940: News from the Next World. London: Werner Laurier.
56.Palmstierna, E. 1937: Horizons of Immortality. London: Constable.
57.Parrott, I. 1978: The Music of Rosemary Brown. London: Regency Press.
58.Cited in Willin, 1999.
59.Willin, 1999.
60.Sloboda, J.A. 1994: The Musical Mind. Oxford: Clarendon Press.