Timbres of Music (Vocal & Instrumental) sustaining the several Moods/Sentiments for worship-services, achieving trances, enhancing dreaming

timbre	mood/sentiment	expository exemplification

chanting voice	inditing	low-toned (usually male) for contemplating animal-deities
singing voice	eating	high-toned (usually female) for icaro-hymning to plant-spirits
shrill-toned wind-instrument	sleeping	shalm (shawm) for general appeal to dreamless/dream immaterial worlds
clear-toned wind-instrument	trancing	stone flute (in Japan), accordion (in Madagascar) for spirit-possession
plucked string-instrument	serenading	mandolin (in Italy and in Spain)
bow-played string-instrument	dancing	rebek (in Iran etc.)
tympanic percussion	in absence of spices from diet	or in ritual to worship deities governing the spice-sentiments
other percussion (xylophone, gongs, etc.)	in absence of visual art	or in ritual to worship deities governing the artistic sentiments

Tympanic (drum) percussion is characteristic of African and of Siberian ritual worship, for inducing advent of particular possession deities; or (as, in the Shaking-Lodge of the Cree) of a series of particular deities. The drum is usual in cultures lacking spices; whereas adequate comesting of spices is able uphold the sentiment-mood level above any need for drumming to feel the mood-excitation necessary to invite the divinities from their worlds to come for their being entertained by performance by mortals. But drumming (so-called "metal" music) could as well be used in ritual performance especially in honor of spice-plant divinities, to indicate the parallelism of result of spice-ingestion with result of spiceless drumming.

Icaro-hymning (for the ayawaska-c^akruna combination) would be social way of telepathizing with spirits of entheogenic plant-species divinities, parallel with private inducing of hypnosis in individual plant-spirits.

[written Mar 2015]