In order to evaluate the proximity of the psychic sonata with Schubert’s style, I discuss many authors which studied the Viennese composer, as Felix Salzer, James Webster, Xavier Hascher, David Beach, Suzannah Clark and Susan Wollenberg, among many others. In order to analyse the psychic so- nata, this work employs the Sonata Theory, of Hepokoski and Darcy, as well as many concepts more familiar to musical analysis. After all, if Brown was capable of doing more than a super cial and intuitive imitation, it should be veri able in a work of importance such as a sonata. This work has the aim to investigate correlations of style in the F minor Sonata ascribed to Schubert’s spirit by the British psychic. In spite of all the controversy and certain fame obtained by the psychic, the case has never received a profound study. Others remained skeptics, judging Brown was not capable of doing more than a super cial and intuitive imitation. Many musical experts of considerable reputation were impressed by her pieces.
Since the decade of 1960, the psychic started to ascribe lots of musical works to spirits of various great composers.
Rosemary Brown (1916-2001) is the most important case of musical mediumship.
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