Among the symbolic expressions of shamanism is the word manifested by ritual chanting. This paper intends to seek an understanding of the symbolic mechanisms of shamanic chanting through an analysis of its musical semantics. The approach is based on listening to the chants collected by the Salesian missionary Fr. Álcionilio Brüzzi among the Tukano Indians of Rio Negro, as well as on bibliographic research (anthropological, musical, etc.) and material culture (musical instruments). Shamanic chanting has music therapy components, which can lead the patient into a state of trance, as well as being integrated with a set of traditional knowledge that is relevant for the understanding of indigenous culture as a whole. In the healing ritual, the shaman articulates symbolic elements where structural characteristics of music - such as rhythm and melody - seem to play a fundamental role in this process. The analysis of the Tukano Pajé Chant shows the mostly monodic character - a single voice - of this music, always accompanied by the rattle. In only one of the four chants researched can the presence of other imitative voices be noticed (polyphony). Shamanic music is not linked to aesthetic contemplation, but to its ritualistic functional aspects, hence its generally repetitive character that resembles a litany. This fact led Father Álcionilio Brüzzi to compare it many times in his writings with Gregorian Chant. We believe that for a deeper understanding of indigenous music one must go beyond comparisons with Western music, as has occurred in some studies, to seek the meaning of these manifestations in their own socio-cultural context. It was observed during this research that there is a fragmented reading of indigenous music in general in the literature, which indicates the need for further research in this area.
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