Indigenous to the Amazon, the term Icaro denotes a particular musical performance, exclusive to the shamanic healing tradition known as ‘Ayahuasca’. Ayahuasca Icaros, as demonstrable in present­day recordings, often come in the form of melodic, verbal sonants, phrases, or motifs, and are often accompanied by other instruments such as rattles and drums (Katz et al., 1971). These musical phrases are employed ritualistically, by a Shaman, during the ceremony, which centers around the ingestion of a potent entheogenic tea (Metzner, 1999). The Icaros appear to take on a new form when beheld in the ecstatic state of consciousness, which the plant­brew provokes. Native informants suggest that the icaros play a key role in invoking visionary­type experiences, which in turn, influence other shamanic tasks such as diagnosing psychosomatic illness and attempting to cure it, or alleviate any symptoms (Luna, 1984; Katz et al., 1971). The intention of this research is to acquire a collection of audio recordings from ayahuasca ceremonies, and conduct an in­depth analysis of it’s musical components in order to further understand the nature of a type of music, employed as a therapeutic medicine in its indigenous context. Chapter One explores the current literature surrounding Icaro use within its ritual context. Chapter Two explores the methodologies of previous, similar research, and the methodology of this research. Chapter Three exhibits all the analysis of the Icaros, ready to be discussed in Chapter Four. Chapter Five will summarise and seek further discussion.