Syllabus: Psi Themes in Music

Course Description

What do musical artists Alice Coltrane, Willie Nelson, John Cage, RZA, and Billie Eilish have in common? They've all drawn from paranormal language to describe their creative process. From séance hymns and orchestral meditations to dream pop, cosmic country, and spiritual jazz, the relationship between music and psi phenomena is far more than novelty—it's at the center of the creative process. Throughout music history, we encounter the paranormal at every turn. Music has always been used as a tool for inducing psi states, and for centuries musicians and composers across all genres have derived creative agency from psi experiences, metaphysical philosophy, and related disciplines of intuition.

This 4-week course explores how musicians and composers have drawn inspiration from intuitive disciplines and the psi states they facilitate. We'll begin with a reflection on traditional psi music research getting familiar with related phenomena and concepts, then explore three fascinating perspectives on psi music in practice: Altered States (clairaudience, trance, synaesthesia, psychedelia), Symbolism & Synchronicity (dreams, divination, sacred geometry, myth), Magick & Meditation (ceremonial magick, prayer/mantra, meditation, and healing). Along the way we'll listen to incredible music and reflect on the creative process of paranormally inspired artists. Each week's course will offer a suggested short reading and a creative exercise.

This course is open to all creatives in any medium—no musical training, knowledge of theory, or spiritual beliefs are required (and all are welcome).

Course Outline

  • Weekly Course Topics

    • Week 1: What is Psi Music?

      • Parapsychological perspectives on psi
      • Historical figures in psi music research
      • Characteristics of psi music
      • The Ganzfeld Study
      • Scientific perspectives on intuition
      • Sonic Theology and the Hindu concept of nada Brahma ("Divine Sound")
      • The Pythagorean concept of "Music of the Spheres"
      • Clairaudience or "clear hearing"

    • Week 2: Altered States

      • Indigenous trance music in Africa, Cuba, Indonesia, Europe, and Native America
      • Séance soundscapes in 19th century America
      • Musical Mediums and Automatic Music
      • Trance music and glossolalia in the American church tradition
      • Psychedelic influences in music
      • Contemporary artists who employ trance in their musical process

    • Week 3: Symbolism, Synchronicity, Divination

      • Symbolism and mythology in music composition
      • The role of synchronicity in the creative process
      • The use of divination (astrology, tarot, numerology, I-Ching) in music
      • The use of dreams in music
      • How to compose melodies unique to your name numerology

    • Week 4: Magick, Meditation, Healing

      • The role of ceremony and ritual in music
      • Music and magick
      • Music and meditation
      • Music and "sacred" geometry
      • Correspondences between musical pitch, color, and number
      • Metaphysical influences on sound healing and music therapy

Course Materials

Suggested Readings:

There is no specific text for this class, however, students will be provided with short readings, videos, and audio clips in the courseroom.

Course Activities

  • Students will be expected to view the class broadcasts or the recordings of the classes each week.
  • Students will be expected to participate in weekly discussion forums and activities. Each student will be expected to provide an original posting each week and to respond to at least one other student in the discussion forums. Greater participation in this area will be considered during class evaluations.
  • For a final project, due on the fourth and final week, students are expected to make a creative response piece (any media) based on a dream or mythical figure. Details will be included in the courseroom

 

Evaluations and Grading

Students who are taking the course for a grade will be assessed based on thier participation and performance on the assigments.

Participation in the forums is a large component of the grading, and substantive postings are necessary to get full credit for each discussion topic.

The following activities will be considered to contribute to the courses as follows:

Discussions (Total 40%): 10 points for each of the 4 weeks including responses to other people's posts

Weekly Assignments (30%)

Final Project (30%)