Trance Inducing Music
Dennis R. Wier
Director, The Trance Institute, Bruetten, Switzerland

This is a brief and simplified overview of trance inducing music, since the word trance is closely associated with the musical genre. There is a connection between trance theory and the musical genre 'trance music' or 'techno trance' as well as the trance inducing music of shamans of Africa, Central and South America and other areas. Moreover, ritual music of many western and eastern cultures has trance inducing aspects which can be analyzed and described using trance theory.

The general trance inducing aspect of music is well-known, but trance theory helps to specifically identify those aspects of music which induce trance, and lays the foundation for describing the nature of the specific trance.

Why should we want to do this? One reason is so that we can engineer better trances through music. There is a part of any music that does induce trance. Sometimes it is only the trance inducing aspect of music which many people feel is what makes music successful or not.

Why is this? Because people get pleasure when they are in a trance. Therefore, if you can make better trances through music, then people will like your music. So, it comes down to trance engineering. But to do that, you have to have a practical model for trance. You got that. Now all you need to do is apply the model.

'Pure' trance inducing music is simple to produce. All that is needed is at least three or four (or more) individually engaging rhythms. Some kinds of reggae music does this, so do the canons of J.S.Bach. In much so-called generic trance music only two rhythms are used, and only occasionally three. The 'engaging' aspect of trance inducing rhythms is important. What may be 'engaging' to one person may be repulsive to someone else. Repeating rhythms can be perceived as 'boring' but it is precisely this 'boring' aspect which is the precursor to trance. If a rhythm is 'engaging' and not boring, then trance is certain to occur. How to make a rhythm engaging is implied by trance theory.

One important characteristic of successful trance inducing music is what trance theory would call 'modulating the dissociated trance plane'. The music of shamans and many aboriginal tribes create effective music which modulates the dissociated trance plane by slightly varying the underlying trance generating loop. Several good examples of this can be heard in the CD 'Heart of the Forest' The music of the Baka Forest People of Southeast Cameroon. Several good examples can also be heard in Glen Velez's Assyrian Rose. el-HADRA: the Mystik Dance has some good attempts at creating the dissociated trance plane, but fails to exploit the opportunities to skillfully modulate it.

There are many nature sounds, such as birds, frogs, crickets which fundamentally repeat, but which contain slight variations within each repetition. The fundamental repetition is the trance generating loop (TGL) and the variations in each repetition results in the modulation of the dissociated trance plane. It is for this reason that the sounds of nature tend to produce trance. The type of variations within the TGL determine to a great degree the effectiveness and depth of the trance.

When there is some 'subtilty' or artistry in the creation and modulation of the DTP, then the trance is compelling and there is an increase in the trance force.

The trance force is a measure of the strength of a trance in units called a 'wyrd'. Without going into too much technical detail here if some assumptions are made and results simplified, the wyrd is proportional to the log of the number of repetitions of a loop and inversely related to the number of elements in a loop. Wyrds are additive, so the trance force increases with more than one loop. The range of values of the wyrd are pretty much what you would expect in a musical setting.

A loud, heavy beat is not necessary. Loudness or heavyness is not of itself productive of trance.

Repetition produces trance. But it will be the type of repetition which is 'engaging' or which produces an involvement with the inner reality. In some trance music - such as goa - there are multiple loops, some of which are subtle. Subtle loops tend to bring the attention to a finer focus. The resulting splitting or dissociation results in trance. But that is not the whole story. What 'subtle' is to one person may be different for another. The effect - which is to say, which cognitive functions are disabled - is another story. Again, this can vary between persons listening to the same music. Another consideration is the order in which cognitive functions are disabled, and finally, what additional processes are being encouraged when these cognitive functions are disabled. In other words, how is this state of mind being used?

Dissonance is also not necessary; although loud heavy beats and dissonance may be interesting from aesthetic points of view, they will not produce trances over which there is much control.

Complex rhythms are not necessarily productive of deeper trances. Deeper trances are more easily produced when, after some time of engaging rhythms, there are increasingly more subtile rhythm or melodic changes, or if rhythm loops become longer and longer. The point is that the rhythms or melodic sequences become more subtile and more engaging. Avoid sharp or unsettling rhythmic or melodic changes as these will most likely terminate the trance by destroying the trance generating loop resulting in the collapse of the dissociated trance plane. One of the reasons that 'trance music' works to produce trance is that there are long periods of the same loop or loops. The long repetitions add to the wyrd logarithmically. This is generally not enough, so secondary loops are invariably added to increase the wyrd and make the music successful as a trance producer.

At the point that a deep trance is produced, subliminal messages could be introduced with effectiveness. The content of the suggestions should be carefully crafted to empower. Suggestions will also affect the music producer.

Most instances of trance music do not allow sufficient time for deeper trances to develop, as complexities are introduced too quickly. Remember, in shamanistic trances, drumming would go on for days. Subtile changes in the rhythm and melodic structures over time will produce deep trances because it is the 'subtilty' which is engaging. Commercial trance music should continue for a minimum of 20 minutes to induce deep trance. Perhaps we are all fortunate that such long trance music riffs almost never happen.

Trance theory mentions secondary trance loops and multiple dissociated trance planes. I can show you how this has a musical equivalent. It is possible to produce schizophrenic-like behavior from music alone. You don't want to do that, right?

It is also possible to produce 'addictive trance music'. Jeez! Why would anyone want to do that?

Additional research in the application of trance theory to music as well as to other arts which produce trance and trance-like effects is needed.

Goa, drum & bass, acid trance music are all fascinating examples of trance inducing music. Obviously, some are more successful than others. Some DJs as well seem to be better at producing trance than others. Again, I can recommend that you apply trance theory to music making in order to create more and deeper trances. It can be done with music alone - no words!

One interesting (and new) aspect of trance music is the possibility to control and create music using Perl and MIDI interfaces. A repeating musical loop is relatively easy to program, and it is quite obvious that a loop is being programmed. If you compare acoustic music with computer generated music, the loops often are not obvious from reading the musical score; but in a computer program they are more obvious (to me).

I once thought that it would be interesting to create computer instrumentation which could analyze acoustic music, find the loops and count them. I realize that such an undertaking is not simple.

What is simpler is to do it the other way: create the music with programs so that the loops can be precisely controlled. There may even be measures which can be made on such programs.

One research project would be to find correllations between various measures on such created music and the subjective effects.

Such musical research projects are intended to become part of the activity encouraged by The Trance Institute. If you are a musician interested in this subject, please get in touch with me!

If you want to recommend web sites or musical CDs, tapes, albums in the contemporary trance music genres, or would like to see those recommendations, please send me your recommendation.

Want more information about trance music, or critiques on your music from a trance theory point of view? Send your tape or CD to me with your email address and I'll give you a detailed evaluation and critique. For now, no charge, unless I get bombarded with too much.

Trance theory is rich; it is full of important implications. Not only does it explain the trances of the past, it can help us to analyze the trances of the present and design trances of the future.

I am very interested in working with serious minded people who wish to use trance theory in scientific or in personal research. I invite you to contact me personally with your questions and proposals.

References:

*

Wier, Dennis R., Trance: from magic to technology. Ann Arbor, Michigan: Trans Media, 1996.

*

About the Author:

Dennis R. Wier is the Director of The Trance Institute in Switzerland. He may be reached by email at Email contact See also www.trance.edu
*

The Book: Trance: from magic to technology How and where to get it.

General References (various sources)

1. *85-1107. Rouget, Gilbert. [Musique et la transe. English] Music and trance: a theory of the relations between music and possession. Gilbert Rouget - translation from the French revised by Brunhilde Biebuyck in collaboration with the author. Chicago : University of Chicago Press, 1985 . xix, 395 p.: ill. 24 cm.— LC CALL NUMBER: ML3920 .R813 1985
2. *92-46586: Sansonese, J. Nigro. The body of myth: mythology, shamanic trance, and the sacred geography of the body. Rochester, Vt.: Inner Traditions: Distributed to the book trade in the U.S. by International Distribution Corp., c1994. p. cm.— LC CALL NUMBER: BL313 .S326 1994
3. *95-169033: Shamans and cultures. Budapest: Akademiai Kiado / Los Angeles: International Society for Trans-Oceanic Research, 1993. xi, 301 p. : ill. 24 cm.— LC CALL NUMBER: GN475.8 .S47 1993
4. * ocm27-490807: Siikala, Anna-Leena. Studies on shamanism/ Helsinki: Finnish Anthropological Society / Budapest: Akademiai Kiado, 1992. 230 p.: ill. 24 cm.— LC CALL NUMBER: BL 2370 S5S66 1992
5. *93-246913. Thorpe, S. A. Shamans, medicine men and traditional healers: a comparative study of shamanism in Siberian Asia, Southern Africa and North America. S.A. Thorpe. 1st ed. Pretoria: University of South Africa, 1993. 146 p. 22 cm.— LC CALL NUMBER: BL2370.S5 T48 1993
6. *86-31810: Villoldo, Alberto. Healing states. New York: Simon & Schuster, 1987. xvi, 207 p., [8] p. of plates: ill. 21 cm.— LC CALL NUMBER: RZ400 .V5 1987
7. *94-72921: Vitebsky, Piers. The shaman. 1st American ed. Boston: Little, Brown, c1995. 184 p.: ill. (some col.) 21 cm.— LC CALL NUMBER: GN475.8 .V57 1995
8. *89-48642: Walsh, Roger N. The spirit of shamanism. Los Angeles: J.P. Tarcher, 1990. p. cm.— LC CALL NUMBER: BL2370.S5.W35
9. Witchcraft and sorcery of the American native peoples / edited by Deward E. Walker, Jr. - preface by David Carrasco. Moscow, Idaho : University of Idaho Press, c1989. xi, 346 p.: ill., maps, 26 cm.— LC CALL NUMBER: E59.R38 W58 1989
10. Amadou Hampate Ba, The Life and Teachings of Tierno Bokar, published in French by Editions du Seuil, 1980, Paris; English translation excerpted in Material for Thought no. 12, Far West Editions, 1990, San Francisco. A record of an islamic African traditional oral spiritual teaching.
11. Paul F. Berliner, The Soul of Mbira, Univ. of Calif. Press, 1978, Berkeley. An in-depth study of Mbira musicianship and its cultural context among the Shona people. The Mbira is sometimes called the “thumb piano” in the west. Also contains information on how to make and play a traditional instrument. Several available recordings by the author and others are cited in the text.
12. Blier, Susan Preston, African Vodoun, Univ. of Chicago Press, 1995 A study of sculptural and other representations of divinity in the Fon- and Evhe-speaking region of West Africa. Contains an interesting section on the etymology of the Evhe word for divinity “vodou,.” which has the root meaning “hidden.”
13. Philo Bregstein, Jean Rouch and his Camera in the Heart of Africa, (Dutch Television production) An in-depth look at the film work of Jean Rouch and his associates from Niger who participated in production of many of Rouch’s Niger-based films; namely, Damoure and Lam. Most of the camera and technical work was accomplished by Niger filmmakers. Bregstein, Rouch, Damoure, Lam, their friend Tollou and others converse about filmmaking and filmmakers who have had historical influence in the field; segments from several of Rouch’s earlier film works are interspersed with the filming in Niger and with interview. Some of the films from which clips are included and discussed by Rouch and Bregstein are Chronicle of a Summer, Moi, un Noir, Tourou et Bitti, Battle on the Great River, Jaguar, Les Maitres Fous, The Lion Hunters, and Petit a Petit. Cinema du Reel, 1979
14. Samuel Charters, The Roots of the Blues, Quartet Books, 1982, London. An English musicologist on a quest doesn’t find exactly what he is looking for, but encounters some of the real music of Africa.
15. John Chernoff, African Rhythm and African Sensibility, U. Chic. Press, 1979. An accompanying audio-cassette is available from the publisher. Also available are CD’s based on Chernoff’s field recordings: Master Drummers of Dagbon, vol. 1 (1985) and vol. 2 (1990), Rounder Records, Cambridge Mass., and a video Drummers of Dagbon, no. 5 in the Repercussions series. Chernoff is an American who visited Ghana to study its music. He records conversations with masters he met there and adds his own ideas on music and dance and their cultural and philosophical dimensions in African tradition.
16. Denis-Roosevelt expedition, Primitive Music of Africa (LP recording), Mainstream records S/6021. An early field recording, with superb material.
17. Maya Deren, Divine Horsemen. Other available material includes an LP record Voodoo Music of Haiti (Nonesuch) and a video Voodoo in Haiti (Mystic Fire Video). The book is the classic study in English of the Haitian Vodou religion, a new-world adaptation of African religious practices and ideas, in which music and dance play central roles. Deren, well-known as an avante-garde film maker before her encounter with Haiti, describes her own experiences inVodou, including her “possession” by a “Loa” (Vodou divinity).
18. Leslie G. Desmangles, The Faces of the Gods:-Vodou and Roman Catholicism in Haiti, Univ. North Carolina Press, 1992. A study of the intersection of African and European religious and cultural elements in Haitian Vodou (this spelling is based on the recently adopted Haitian orthography that replaces French spellings with pronunciation-based spellings. The author uses this throughout the book). Cultural context and historical background are brought to life by the Haitian-born author.
19. Dunham, Catherine, Island Possessed. The famous African-American dancer records her encounter with Vodou in Haiti. She became in initiate (canzo, later to become mambo) and her account of the ritual is the only one extant in English by a person who actually underwent it.
20. Yaya Diallo and Mitchell Hall, The Healing Drum, Destiny Books, 1989, Rochester Vermont. An audio-cassette is also available from the publisher. An African’s story of his childhood which included intensive training as a musician-healer of the Minianka tribe, a division of the Senufo.
21. Verna Gillis, Rara (video), Original Music, Tivoli NY. Also, Caribbean Revels: Haitian Rara and Dominican Gaga (CD), Smithsonian Folways CD SF 40402, 1991, Washington DC. A new world musical tradition based on Central African models, now associated in Hispaniola with Easter.
22. Marcel Griaule, Conversations with Ogotemmeli, Oxford Univ. Press, 1965, London. French anthropologist’s seminal account of the complex metaphysical and spiritual inner teachings of the Dogon of the upper Volta region, revealed to him under conditions of an extraordinary trust which developed over years between him and his African hosts. Includes interesting material on the drum and its symbolism.
23. A. M. Jones, Studies in African Music, Oxford U. Press, 1959, London. Pioneering effort, still unexcelled, to annotate and understand an African music from an ethnomusicological perspective. Vol. 2 contains complete scores of several extended performances among the Ewe people of Ghana, with whom Jones worked.
24. Geoffry Haydon and Dennis Marks, Repercussions, Home Vision, 1984, Chicago. A series of seven one-hour video cassettes documenting African and African-American music and dance, with interpretive commentary.
25. Richard Hodges, Drum is the Ear of God: Africa’s Inner World of Music, in Material for Thought no. 13, Far West Editions, 1992, San Francisco. A study of the way in which rhythm is integral to African spiritual culture.
26. Richard Hodges, The Quick and the Dead: the Souls of Man in Vodou Thought, in Material for Thought no. 14, Far West Editions, 1995, San Francisco. The African-Diaspora religious tradition of Haiti throws a fresh light on the meaning of the idea of the soul and its possible development.
27. Jahnheinz Jahn, Muntu: African Culture and the Western World, Faber, 1961. A classic study of African religious and philosophical ideas and practices. Jahn extracts a system of metaphysical categories as a framework for presenting a wide range of traditional, literary, and anthropological material on Africa. At times, his writing evokes profound depths of feeling and thought.
28. Gerard Kremer, Balafons et Tambours D’Afrique, Playa Sound CD PS 65034, 1989, distr. Auvidis, Gentilly, France. A good collection of music from several places in Africa.
29. C. K. Ladzekpo, Foundation Course in African Music (WorldWideWeb version). Practical course on African drumming technique, musical ideas, and cultural context by a great master drummer of the Anlo-Ewe people of Ghana (also see CIA factbook entry on Ghana) and Togo. Based on his extensive experience teaching African music to Westerners in the Music department of the University of California at Berkeley.
30. Original Music, a publisher and distributor of world music recordings, books, and videos, 418 Lasher Rd., Tivoli NY 12583. Their periodical catalog covers a wide range of African, African Diaspora, and other material. It contains generally dependable thumbnail reviews of the items they sell.
31. Georges Niangoran-Bouah, “The Talking Drum: a Traditional African Instrument of Mediation with the Sacred,” in African Traditional Religions in Contemporary Society, Jacob K. Olupona ed., Paragon, 1991, New York. Has some beautiful translations of traditional poetry and sayings.
32. Robert D. Pelton, The Trickster in West Africa, a Study of Mythic Irony and Sacred Delight, Univ. of Calif. Press, 1980, Berkeley. Pelton, a Catholic priest who studied the History of Religions with Mircea Eliade, conducts a masterful hermeneutic exercise on four trickster traditions in West Africa: The Ananse (spider) stories of the Ashanti: the messenger-god Legba of the Fon; Eshu of the Yoruba; and Ogo-Yurugu of the Dogon. Pelton works with sources rather than field experience. He brings a profound spiritual scholarship to the material, with the result that we feel deeply into our own tradition as well as these African traditions.
33. Gilbert Rouget, Trance in Music, Univ. Chicago Press. Rouget examines a wide range of different cultural manifestations of trance involving music. Some of his data is based on his own field work in Africa and elsewhere. He enunciates a distinction between “shamanic trance” and “possession trance.” In the former, the soul of the shaman is said to travel to other worlds; in the latter, a spirit of some sort is said to enter the body of the person possessed, temporarily displacing his ego.
34. Louis Sarno, Song from the Forest, 1993. Sarno hears a recording of the music of the pygmies and is called to go live among them. With extraordinary self-revelation and poignancy, he recounts the story of his reluctant acceptance by the Ba-Benjeli pygmies of Central Africa, and of his courtship and “marriage” to a pygmy woman. He also managed to record some remarkable music and sounds of their life on a portable cassette recorder. Also available is Sarno’s book/CD combination BAYAKA: The Extraordinary Music of the BaBenzele Pygmies
35. Malidoma Some, Of Water and the Spirit (review). Dagara-born Malidoma, a name which means “he who makes friends with his enemies,” was kidnapped at an early age by Jesuits. Raised in a seminary, he was estranged from his village traditions. He movingly describes his struggles to return to the heart of his native culture. Later, he studied at the Sorbonne, receiving a doctorate. In this book, he brings a needed message for the West, about the importance of ritual, and the place of “Spirit” in the life of the community. Malidoma has developed a major presence as a “new-age” teacher. He is also a faculty member with Arnold Keyserling’s School of Wisdom.
36. Paul Stoller, Cinematic Griot: the Ethnographic Film of Jean Rouch, University of Chicago Press 1992. Well-known African anthropologist Stoller places Rouch’s epoch-making film oeuvre, created among the Dogon and Songhay of Mali and Niger, giving detailed descriptions of several films. These films range from “straight” ethnography to improvised fiction constructed from ethnic materials. A student of Griaule, Rouch was influenced by early twentieth-century currents including surrealism and postmodernism. He in turn had a great influence on contemporary cinema; he was the inspiration for cinema veritŽ. His influence in cinema remains greater than in anthropology, where film is viewed, as Stoller documents, with suspicion. Stoller concludes that Rouch is at heart a Griot, a historian/storyteller in the African tradition.
37. Robert Farris Thompson, African Art in Motion, Univ. Calif. Press, 1974, Berkeley. An art-criticism approach to material artifacts associated with African dance and ritual, and to cultural and spiritual ideas connected with them. Many photographs of extraordinary objects including the great masks used in certain ceremonies.
38. Hugh Tracey, The Music of Africa Series (series of ten audio-cassettes), Traditional Music Documentation Project, 1972, Washington DC. Wide variety of traditional and early urban popular music, well annotated. Some of the recordings are old and not up to modern technical standards, but contain excellent material not available elsewhere. Hugh Tracey founded the International Library of African Music.
39. Colin Turnbull, The Forest People, Simon and Schuster 1961, New York. Selections from Turnbull’s field recordings are also available as Mbuti Pygmies of the Ituri Forest, Smithsonian Folkways CD SF-40401, 1992, Washington DC. A-great pioneering work, sympathetically portraying the Pygmies as a beautiful, highly spiritual people.
40. Lyall Watson, Lightning Bird, E. P. Dutton, 1982, New York. True story of Adrian Boshier, who went into Africa alone and encountered the depths of tradition. Interesting section on magic powers of certain drums.
41. A Mythic Life: Jean Houston, Harper San Francisco, 1995. ISBN 0-06-250281-6
42. A New Science of Life: The Hypothesis of Formative Causation, Rupert Scheldrake, J. P. Tarcher, Inc., Los Angeles, 1981.
43. Amazing Brain: Robert Ornstein and Richard F. Thompson, Houghton Mifflin Co., Boston, 1984.
44. Beyond the Brain: Stanislav Grof, State University of New York Press, 1985.
45. Black Butterfly: An Invitation to Radical Aliveness, Richard Moss, M.D.Celestial Arts, Berkeley, CA, 1986.
46. Brain Book: Peter Russell, E.P. Dutton Inc., New York,1979.
47. Consciousness: The Brain, States of Awareness, and Alternate Realities: Daniel Goleman, Richard J. Davidson editors, Irvington Publishers, Inc., New York, 1979.
48. Dream Body, Richard Moss, M.D.Sigo Press, Boston, MASS, 1982.
49. Global Brain: Peter Russell , J.P. Tarcher, Inc., Los Angeles, 1983.
50. Goddess Sekhmet: The Way of the Five Bodies, Robert Masters, Amity House, Amity, NY, 1988.
51. Gods and Symbols of Ancient Egypt: Manfred Lurker: Thames and Hudson, Ltd.; London; 1980.
52. Gospel of the Holy Twelve: or The Gospel of the Perfect Life: translated by a Disciple of the Master, John M. Watkins, London, 1956.
53. Hands of Light,: A Guide to Healing Through the Human Energy Field, Barbara Ann Brennan, Bantam Books, NY, 1987.
54. Harmonies of Heaven and Earth:
55. Joscelyn Godwin, Inner Traditions, International, Vermont, 1987
56. Hero and the Goddess: Jean Houston, Ballentine Books, New York, 1992. [ISBN 0-345-36567-4]
57. Hero With The Thousand Faces: Joseph Campbell, Bollingen Foundation, Inc., New York, 1968. [ISBN 0-691-01784-0]
58. Human Brain Coloring Book: Marian C. Diamond, Arnold B. Scheibel, Lawrence M. Elson, Barnes and Noble Books, New York, 1985.
59. Human Energy Systems: Jack Schwarz, E.P. Dutton, New York, 1980
60. Illustrated Encyclopaedia of Traditional Symbols: J.C. Cooper; Thames and Hudson, Ltd.; London;1978.
61. Introduction to the Musical Brain: Don G. Campbell, Magnamusic Baton, Inc., 1983
62. Joy’s Way: A Map for the Transformational Journey W. Brugh Joy, M.D., J. P. Tarcher, Inc., Los Angeles, CA, 1979.
63. Lectures at the Human Capacities Program, Robert Masters, Ph.D. ,Greenkill, NY, 1987-1989.
64. Library of the World’s Myths and Legends: Egyptian Mythology, Veronica Ions, Peter Bedrick Books, New York, 1982.
65. Listening to the Body: The psychophysical Way to Health and Awareness, Robert Masters, Ph.D. and Jean Houston, Ph.D., Delta Books, New York, 1973.
66. “Masters Psychophysical Method” Course I & II on cassette tapes, Robert Masters, Ph.D., Kontrakundabuffer Corp., Pomona, NY.
67. Mind Games: The Guide to Inner Space: Robert Masters and Jean Houston , Delta Books, New York, 1972.
68. Mind Field: A Personal Essay, Robert E. Ornstein, Ph.D., Octagon Press, London, 1983.
69. Mind Map: Sanford “Buddy” Frumker,Health Associates, LTD., 1994.
70. Music and Trance: a theory of the relations between music and possession: Gilbert Rouget, The University of Chicago Press, Chicago, 1985.
71. Neurospeak: Robert Masters, Quest Books, Wheaton, 1994
72. Passion of Isis and Osiris: Jean Houston, Ballantine Books, 1995. ISBN 0-345-39779-7
73. Possible Human: Jean Houston, J.P. Tarcher, Inc., Los Angeles, 1982.
74. Proceedings of the Eleventh International Conference of the Study of Shamanism and Alternate Modes of Healing: Conf. Coordinator and editor Ruth-Inge Heinze, Independent Scholars of Asia, Inc., 1994. [ISBN 0-945875-12-6]
75. Psychophysical Reeducation Course # 1, Robert Masters, exercise 7A - Freedom Through Awareness, Pomona, NY, 1990.
76. Psychophysical Method Exercises: Volume I - VI, Robert Masters, Ph.D., Kontrakundabuffer Corp., Pomona, NY, 1983.
77. Random House Dictionary of the English Language, Second Edition, Una-bridged, Random House, NY, 1987.
78. Roar of Silence: healing powers of breath, tone & music: Don G.
79. Campbell, The Theosophical Publishing House, Wheaton, Illinois, 1989.
80. Sacred Cord Meditations: Dolores Ashcroft-Nowicki;Aquarian Press, GREAT BRITAIN, 1990, ISBN 0-85030-907-7
81. Search for the Beloved: Journeyus in Sacred Psychology, Jean Houston Tharcher, Los Angeles, 1987.
82. Shamanism: the archaic techniques of ecxtasy: Mircea Eliade, Bollingen Series LXXVI, Princeton Univrsity Press, 1964.
83. Spiraling Ascension, IASOS, unpub-lished cassette.
84. Touch for Health, John F. Thie, D.C., The Touch For Health Foundation, CA, 1989
85. Trance Tape, Steve McLinn, Ojas Music Boc, OKC, OK 1982.
86. Vison of the Brain: Semir Zeki, Blackwell Scientific Publications, London, 1993.
87. Waking Up: Overcoming the Obstacles of Human Potential, Charles T. Tart, New Science Library, Shambala, Boston, MAS
88. Wheels of Light: A Study of the Chakras, Rosalyn L. Bruyere, Bon Productions, Arcadia, CA, 1989.
89. Lifton, R.J. Thought Reform and the Psychology of Totalism. New York, NY: Norton; 1961.
90. Schein, E.H. Coercive Persuasion. New York, NY: Norton; 1961.
91. Chen, T.E.H. Thought Reform of the Chinese Intellectuals. New York, NY: Oxford University Press; 1960.
92. Farber, I. E., Harlow, H.F., West, L.J. Brainwashing, conditioning and DDD: debility, dependency and dread Sociometry. 1956: 20: 271-285
93. Hinckle, L.E., Wolfe, H.G. Communist interrogation and indoctrination of enemies of the state. Archives of Neurology and Psychiatry. 1956: 76:115-174.
94. Lifton, R.J. Home by ship: reaction patterns of American prisoners of war repatriated from North Korea American Journal of Psychiatry. 1954; 110: 732-739
95. Schein, E.H. The Chinese Indoctrination program for prisoners of war Psychiatry. 1956; 19:149-172.
96. Segal, H.A. Initial psychiatric findings of recently repatriated prisoners of war American Journal of Psychiatry. 1958; 21:358-363.
97. Singer, M.T., Schein, E.H. Projective test responses of prisoners of war following repatriation Psychiatry. 1958; 21:375-385.
98. Strassman, H., Thaler, M., Schein, E.H. A prisoner of war syndrome: apathy as a reaction to severe stress American Journal of Psychiatry. 1956; 112:998-1003.
99. Ofshe, R., Singer, M.T. Attacks on Peripheral versus central elements of self and the impact of thought reforming techniques Cultic Studies Journal/ 1986; 3:3-24.
100. Glass, L.L., Kirsch, M.A., Parris, F.N. Psychiatric disturbances associated with Erhard Seminars Training, I: a report of cases American Journal of Psychiatry. 1977; 134:245-247.
101. Haaken, J., Adams, R. Pathology as >personal growth=: a participant observation study of Lifespring Training Psychiatry. 1983; 46: 270-280.
102. Higgett, A.C., Murray, R.M. A psychotic episode following Erhard Seminars Training Acta Psychiatr Scand. 1983; 67:436-439.
103. Hockman, J. Iatrogenic symptoms associated with a therapy cult: examination of an extinct >new psychotherapy= with respect to psychiatric deterioration and >brainwashing= Psychiatry. 1977; 134:1254-1258.
104. Kirsch, M.A., Glass, L.L., Psychiatric disturbances associated with Erhard Seminars Training, II: additional cases and theoretical considerations. American Journal of Psychiatry. 1977; 134:1254-1258.
105. Ofshe, R., Eisenberg, N., Coughlin, R., Dolinajec, G., Johnson, A. Social structure and the social control in Synanon@ Voluntary Action Research. 1974; 3:67-76.
106. Ofshe, R. A Synanon: the people business. In: Glock, C., Bellah, R. Eds. The New Religious Consciousness. Berkeley, Calif: The University of California Press. 1976: 116-137.
107. Ofshe, R. The social development of the Synanon cult: the managerial strategy of organizational transformation Sociological Analysis. 1980; 41:109-127.
108. Singer, M.T., Ofshe, R. Thought Reform and Brainwashing. Document offered as proof of testimony, Queen=s High Court, London, on behalf of the London Daily Mail: 1980.
109. Singer, M.T. Group psychodynamics In: Berkow, R., ed. The Merck Manual. Rahway, NJ: Merck Sharp and Dohme; 1987: 1467-1471.
110. Lieberman, M.L., Yalom, I., Mile, M. Encounter Groups: First Facts. New York, NY: Basic Books; 1973.
111. Yalom, I., Lieberman, M. A study of encounter group casualties Archives of General Psychiatry. 1971; 25:16-30.
112. Heide, F.J., Borkovec, T.D. Relaxation-induced anxiety: paradoxical Anxiety enhancement due to relaxation training Journal of Consulting Clinical Psychology. 1983; 51:171-182.
113. Heide, F.J., Borkovec, T.D. Relaxation-induced anxiety: mechanism and theoretical implications Behav. Res. Ther. 1984; 22:1-12.
114. Heide, F.J. Relaxation: the storm before the calm Psychology Today. April 1985; 19:18-19.
115. Lifton, R.J. Doubling: the Faustian bargain In: Lifton, R.J., ed. The Future of Immortality and Other Essays for a Nuclear Age. New York, NY: Basic Books; 1987; 195-208.