View source for Modern pagan music

{{Use dmy dates|date=October 2019}}
[[File:Romuvan ceremony (11).PNG|thumb|The folk music group [[Kūlgrinda (band)|Kūlgrinda]] is the musical expression of [[Romuva (religion)|Romuva]] in Lithuania.]]
'''Modern pagan music''' or '''neopagan music''' is music created for or influenced by [[modern Paganism]]. Music produced in the [[interwar period]] include efforts from the Latvian [[Dievturība]] movement and the Norwegian composer [[Geirr Tveitt]]. The [[counterculture of the 1960s]] established [[British folk revival]] and [[world music]] as influences for American neopagan music. [[Second-wave feminism]] created [[women's music]] which includes influences from feminist versions of neopaganism. The United States also produced [[Moondog]], a [[Heathenry (new religious movement)|Norse neopagan]] street musician and composer. The postwar neopagan organisations [[Ásatrúarfélagið]] in Iceland and [[Romuva (religion)|Romuva]] in Lithuania have been led by musicians.

Several subgenres of rock music have been combined with neopaganism. [[Neofolk]] bands have featured pagan revivalists since the genre's inception, [[pagan rock]] emerged in the 1980s as a distinct genre or subgenre of [[gothic rock]], and several [[Heavy metal music|heavy metal]] bands have associated themselves with paganism since the early 1990s. Festivals like [[Wave-Gotik-Treffen]] and [[Castlefest]] have become venues for eclectic neopagan popular music, which may contain elements of gothic rock, [[neo-Medieval music]], [[folk music]], [[electronic music]], [[ambient music]] and [[underground music]].

== Interwar period ==
The [[Baltic neopaganism|Latvian neopagan]] movement [[Dievturība]] developed a musical life in the 1930s, focused on the instruments [[kokle]]s and [[trīdeksnis]], choir music and Latvian folk music. In a 1937 article, the movement's chief ideologue [[Ernests Brastiņš]] wrote about the religion's sermons, which included music that "should create solemn and harmonious feelings".{{sfn|Muktupāvels|2000|pp=393–394}} This was initially handled by the organist, composer and conductor [[Valdemārs Ozoliņš]] (1896–1973). The other main contributors were Jānis Norvilis (1906–1994) and Artūrs Salaks (1891–1984). Norvilis created choral arrangements of folk songs for calendar celebrations. Salaks, a composer and folklorist, became the movement's musical leader in 1936. His own music was characterized by [[diatonic scale]] and [[Drone (music)|drones]], and combined archaic and new elements in what he dubbed "the Latvian style".{{sfn|Muktupāvels|2000|pp=393–394}} In 1938, Salaks released a collection of choral songs titled ''Latviešu dievestīgās dziesmas'' ("Latvian songs of adoration").<ref>{{cite web |url=https://www.lmic.lv/lv/muziki/arturs-salaks-2432 |title=Artūrs Salaks |work=Latvian Music Information Centre |language=lv |access-date=22 July 2020 }}</ref>

Also in the 1930s, the Norwegian composer [[Geirr Tveitt]] (1908–1981) became affiliated with the [[Heathenry (new religious movement)|Germanic neopaganism]] of the [[National Socialist]] journal ''Ragnarok'' and its publisher [[Hans S. Jacobsen]]. Jacobsen drew heavily from [[Jakob Wilhelm Hauer]]'s theories and promoted the adoration of the [[Norse mythology|Norse gods]]. This influenced Tveitt's musical compositions, notably the ballet ''[[Baldurs draumar]]'' (1938).{{sfn|Emberland|2003|pp=311–353}} Tveitt maintains a high status as a composer in Norway, but his affiliation with this milieu is controversial.<ref>{{cite news |last=Bleken |first=Halfdat |date=2 June 2003 |url=https://www.nrk.no/urix/den-irrelevante-fortiden_-og-den-guddommelige-musikken-1.523715 |title=Den irrelevante fortiden, og den guddommelige musikken |publisher=[[NRK]] |language=no |access-date=22 July 2020 }}</ref>

== Counterculture and second-wave feminism ==
A self-identified pagan scene for popular music emerged in the United States in the 1970s. A pioneer was [[Gwydion Pendderwen]] (1946–1982), who established an emphasis on folk music and singer-songwriter material.{{sfn|Pitzl-Waters|2014|p=85}} Another early contributor was [[Charlie Murphy (singer-songwriter)|Charlie Murphy]] (1953–2016), whose song "Burning Times" became popular in the early 1980s.{{sfn|Hill|2005|p=1238}} Their style owed much to the [[British folk revival]] of the 1960s, in particular [[British folk rock]] acts like [[Fairport Convention]] and [[Steeleye Span]]. Another important element was the [[chant]], exemplified with [[Zsuzsanna Budapest]]'s "We all come from the Goddess / And to Her we shall return / Like a drop of rain / Flowing to the ocean".{{sfn|Hill|2005|p=1238}} Chants and songs were made integral to the religious rituals of the milieu. [[World music]] gradually became a central component, partially due to concerns of inclusion. This expressed itself through drumming circles where [[Rhythm in Arabic music|Middle Eastern malfuf rhythms]] became the standard, sometimes alternated with African-based [[Clave (rhythm)|clave]] rhythms. Pagan recordings and performances began to feature [[Goblet drum|doumbeks]], [[Tar (drum)|tars]] and [[djembe]]s.{{sfn|Hill|2005|p=1238}} The mythological material has predominantly been drawn from [[Celtic mythology]].{{sfn|Hill|2005|p=1238}} Records from this pagan scene were sold in [[New Age]] stores and information about new music was spread through magazines like ''[[Circle Sanctuary|Circle Network News]]'' and ''[[Green Egg]]''.{{sfn|Lewis|1999|p=194}}

[[File:Moondog kopf.jpg|thumb|upright|left|Sculpture of Moondog at his grave in [[Münster]]]]
As a legacy from the [[counterculture of the 1960s]], neopaganism in the United States developed a close relationship with the New Age movement. A prominent example of this is the [[Starwood Festival]], held every summer since 1981. Starwood was formerly held in southwestern [[New York (state)|New York]] but has since moved to a site near Athens OH. The festival hosts musical performances, rituals and an eclectic program of workshops. <ref>{{cite web |title=The Starwood Festival |url=https://www.starwoodfestival.com/ |website=The Starwood Festival |access-date=5 March 2023}}</ref>{{sfn|Pike|2004|pp=35–36}}

[[Kay Gardner (composer)|Kay Gardner]] (1940–2002) was an adherent of [[Dianic Wicca]] and one of the founders of [[women's music]], which emerged as the musical expression of [[second-wave feminism]]. Her works include the [[oratorio]] ''[[Ouroboros: Seasons of Life—Women's Passages]]''. It portrays a woman's life cycle from birth to death using the symbols of the [[Triple Goddess (Neopaganism)|Triple Goddess]] and neopagan holidays.{{sfn|Marini|2003|pp=171–182}} According to the musicologist Ruth A. Solie, feminist music overall had its origin in the [[Goddess movement]], which inspired women to express their inner lives through music.{{sfn|Solie|1993|pp=8–31}}

Louis Thomas Hardin (1916–1999), known as [[Moondog]], was a blind street musician, composer and poet. He remained outside of organized pagan structures, but included pagan and mythological themes in his music, dressed in a horned helmet, said he believed in the Norse gods and built an altar to [[Thor]] at his country retreat in [[Candor, New York]].{{sfn|Scotto|2013}}

== Neopagan movements in post-war Europe ==
[[File:Sveinbjörn Beinteinsson 1991.jpg|thumb|upright|Sveinbjörn Beinteinsson in 1991]]
In Iceland, [[Ásatrúarfélagið]]'s first ''[[Allsherjargoði (Ásatrúarfélagið)|allsherjargoði]]'' [[Sveinbjörn Beinteinsson]] (1924–1993) was known as both a writer and singer of ''[[rímur]]'', a traditional form of [[Alliterative verse|alliterative poetry]] or songs. He can be seen performing in this style in the documentary film ''[[Rokk í Reykjavík]]''.<ref>{{cite news | title=Merkir Íslendingar: Sveinbjörn Beinteinsson |url=https://www.mbl.is/greinasafn/grein/1428083/ |work=[[Morgunblaðið]] |language=is |date=4 July 2012 |access-date=22 July 2020 }}</ref> In 1982 he released an album, ''Eddukvæði'', where he sings from the ''[[Poetic Edda]]''.<ref>{{cite news |title=Andlát: Sveinbjörn Beinteinsson |url=http://timarit.is/view_page_init.jsp?pageId=2621657 |work=[[DV (newspaper)|Dagblaðið Vísir]] |language=is |date=7 January 1994 |access-date=22 July 2020 }}</ref> Another work with ties to Ásatrúarfélagið is ''[[Odin's Raven Magic]]'', a 2002 choral and orchestral setting of the Icelandic poem ''[[Hrafnagaldr Óðins]]''.  It was made by the ''allsherjargoði'' [[Hilmar Örn Hilmarsson]] (born 1958) in collaboration with [[Sigur Rós]] and [[Steindór Andersen]].{{sfn|Lassen|2011|p=9}}

The folk music group [[Kūlgrinda (band)|Kūlgrinda]] was founded in 1989 by [[Inija Trinkūnienė|Inija]] (born 1951) and [[Jonas Trinkūnas]] (1939–2014), the leaders of the Lithuanian neopagan movement [[Romuva (religion)|Romuva]]. The group functions as the movement's musical expression and is an integral part of its rituals. It is specialised on ''[[sutartinės]]'', traditional [[Polyphony|polyphonic]] song-chants.{{sfn|Strmiska|2012|pp=361–364}} Romuva's website describes Kūlgrinda as a "ritual folklore group".<ref>{{cite web |url=https://romuva.lt/apie/apeigu-folkloro-grupe/ |title=Apeigų folkloro grupė |publisher=Romuva |language=lt |access-date=22 July 2020 }}</ref> The Slovak singer and multi-instrumentalist [[Žiarislav|Miroslav "Žiarislav" Švický]] (born 1967) has been influential within [[Slavic Native Faith]] in Slovakia with his songs that combine [[Slovak folk music]] and contemporary influences. He is the founder and leader of the modern pagan organisation Rodný kruh ({{literal translation|Native Circle}}).{{sfn|Puchovský|2022|pp=17–40}}

== Rock music ==
=== Neofolk and the "Euro-pagan scene" ===
{{Main|Neofolk}}
The genre of [[neofolk]] emerged from [[industrial music]] in the 1980s and is musically related to the post-war folk revival and [[gothic rock]]. It parallels and partial overlaps [[folk metal]], [[Neoclassicism (music)|neoclassical music]], [[neo-Medieval music]], [[folk-pop]] and [[pagan metal]].{{sfn|Saunders|2020|p=39}} The historian of ideas [[Stéphane François]] has written that neofolk, also known as apocalyptic folk and dark folk, largely overlaps with what he calls the "Euro-pagan scene",{{sfn|François|2007|pp=35–54}} which is "characterized more by a mindset, an overall message, than by a musical genre".{{sfn|François|2007|pp=35–54}}

[[File:Fire + Ice MJR.JPG|thumb|left|Fire + Ice at [[Mėnuo Juodaragis]] in 2013]]
Pagan revivalism has been a part of the scene from its inception through people such as Robert N. Taylor of the band Changes. Other examples include the band [[Sol Invictus (band)|Sol Invictus]], Fire + Ice and its frontman [[Ian Read (musician)|Ian Read]], the Dutch neopagan [[Freya Aswynn]] who has collaborated with groups such as [[Current 93]] and [[Patrick Leagas|Sixth Comm]], and [[Blood Axis]], whose frontman [[Michael Jenkins Moynihan]] edits the journal ''[[Tyr (journal)|Tyr]]''.{{sfnm|1a1=François|1y=2005|1loc=paragraph 23|2a1=François|2y=2007|2pp=35–54}} Several prominent members have gone from embracing [[Satanism]] and [[witchcraft]] to embracing paganism, which has led to internal controversies; some participants have combined pagan and Satanic motifs, which others condemn.{{sfn|François|2005|loc=paragraph 24}} Since the early 2000s, some people within the scene, such as Barberousse of His Divine Grace and Moynihan, have been influenced by the paganism of the ''[[Nouvelle Droite]]'' and [[Alain de Benoist]].{{sfnm|1a1=François|1y=2005|1loc=paragraph 18|2a1=François|2y=2007|2pp=35–54}}

Beyond musical commonalities, neofolk is distinguished by an [[Elitism|elitist]] view of culture, opposition to [[rationalism]] and modern homogenisation, an interest in Europe, identity and ethnicity, and dark visions.{{sfn|Saunders|2020|p=38}} The bands sometimes reference right-wing, occult, neopagan or ''[[Völkisch movement|völkisch]]'' subjects with deliberate ambiguity; the scholar [[Stefanie von Schnurbein]] calls this an "elitist [[Friedrich Nietzsche|Nietzschean]] masquerade" which expresses a "(neo-)romantic art-religious attitude".{{sfn|Schnurbein|2014|pp=254–255}} François associates the themes of the "Euro-pagan scene" with the political right, especially the [[Conservative Revolution|conservative revolutionary movement]], but also sets it apart from right-wing culture through its willingness to engage in avant-garde artistic expressions.{{sfn|François|2007|pp=35–54}} François writes that the early and more influential bands are well-informed about their themes, but also describes a strong presence of "diluted esotericism":{{sfn|François|2007|pp=35–54}} the conventions and cultural references established by the early groups do not necessarily correspond to a particular worldview among the bands that copy them.{{sfn|François|2007|pp=35–54}}

=== Pagan rock ===
{{Main|Pagan rock}}
[[File:2014 WGT 23 Inkubus Sukkubus.jpg|thumb|Candia and Tony McKormack of [[Inkubus Sukkubus]] at the [[Wave-Gotik-Treffen]] in 2014]]
Pagan rock music as a particular genre emerged from British [[post-punk]], especially gothic rock. According to the writer, journalist and DJ Jason Pitzl-Waters, many younger pagans in the 1980s and 1990s adopted gothic rock as their preferred alternative to the tastes of the [[Baby boomers|baby boom generation]], which at the time dominated the neopagan institutions. By the mid 2000s, the genre had fully integrated into the mainstream of those institutions.{{sfn|Pitzl-Waters|2014|p=76}}

Some mythic themes occurred in goth lyrics from the early 1980s, as part of the genre's propensity for the romantic, medieval and primordial.{{sfn|Pitzl-Waters|2014|p=76}} This became more prominent in the "second wave" of the genre, spanning from the mid 1980s to the mid 1990s. One of the most successful bands of this wave, [[Fields of the Nephilim]], make ample references to the occult and paganism in their lyrics. Another band from this wave is [[Inkubus Sukkubus]], formed in 1989 and explicitly referring to itself as a pagan band above everything else.{{sfn|Pitzl-Waters|2014|pp=79–80}} Inkubus Sukkubus had a mainstream breakthrough in the United Kingdom with the release of its debut album in 1993, and would go on to perform at both mainstream venues and neopagan events. The success of Inkubus Sukkubus inspired a number of other British bands to adopt a "Pagan-Goth identity", something that quickly spread to other countries.{{sfn|Pitzl-Waters|2014|p=81}} The Australian-British band [[Dead Can Dance]], formed in 1981, has had a significant impact on neopagan popular music, although neither of its own members has expressed any allegiance to paganism. Dead Can Dance began as a goth band but gradually moved away from the genre and has added elements such as [[world music]] and references to mythology.{{sfn|Pitzl-Waters|2014|p=82}} The annual music festival [[Wave-Gotik-Treffen]] in Leipzig, which focuses on genres such as gothic rock and [[dark wave]], has a "Pagan Village" for pagan festival goers.{{sfn|Pitzl-Waters|2014|p=89}}

=== Heavy metal ===
{{see also|Pagan metal}}
[[File:Arkona Party.San Metal Open Air 2019 32.jpg|thumb|[[Maria Arkhipova|Masha Scream]] with Arkona at Party.San Metal Open Air in 2019]]
[[Heavy metal music]] inherited an interest in Satanism and the occult from its progenitors in 1960s rock music. Beginning in Scandinavia around 1990, many metal bands came to replace the Satanic theme with an interest in paganism.{{sfn|Schnurbein|2016|pp=336–337}} Few of these musicians regarded themselves as religious, but the [[black metal]] scene in particular developed an affinity for paganism and folk customs. An example is a 1995 essay by the Austrian musician [[Allerseelen (band)|Gerhard "Kadmon" Petak]], which quotes from [[Otto Höfler]] to draw parallels between black metal and traditions surrounding the [[Wild Hunt]] motif. The essay first became influential in the Alpine black metal scene, and received wider distribution when an English translation was included in the 1998 book ''[[Lords of Chaos (book)|Lords of Chaos]]''.{{sfn|Schnurbein|2016|pp=339–340}}

Among metal bands that explicitly profess to paganism are [[Arkona (band)|Arkona]] from Russia,<ref>{{cite web |last=Eck |first=Markus |title=Heroic summonings to the ancient gods| work=Metalmessage |url=https://www.metalmessage.de/Interview_ARKONA_2008_en.php |date=2 March 2008 |access-date=22 July 2020 }}</ref> [[Falkenbach]] from Germany<ref>{{cite web |last=Petrella |first=Fabio |title=Interviste – Falkenbach (Vratyas Vakyas| work=SpazioRock |language=it |url=http://www.spaziorock.it/intervista.php?&id=330&eng=1 |date=4 May 2011 |access-date=22 July 2020 }}</ref> and [[Skálmöld]] from Iceland.<ref>{{cite web |author=Angela |date=25 November 2017 |url=https://www.metal.de/interviews/skalmoeld-interview-zu-islaendischen-klischees-302286/ |title=Skálmöld: Klischee-Alarm! Landeskunde mit den Isländern |work=[[Metal.de]] |language=de |access-date=22 October 2019 }}</ref> Individual musicians include [[Gaahl]], involved in metal bands like [[Gorgoroth]], [[Trelldom]] and [[God Seed]],{{sfn|Patterson|2013|p=263}} [[Ossian D'Ambrosio]], founder and guitar player of [[Opera IX]],<ref>{{cite web |last1=Palmisano |first1=Stefania |last2=Vanzo |first2=Martina |date=12 November 2019 |url=https://wrldrels.org/2019/11/10/cerchio-druidico-italiano/ |title=Cerchio Druidico Italiano |work=World Religions and Spirituality Project |publisher=[[Virginia Commonwealth University]] |access-date=2 August 2022 }}</ref> and Pierre Wilhelmsson, former bass guitar player and lyrics writer for [[Månegarm]].<ref>{{cite web | last=Miasnikov |first=Aron |date=27 October 2005 |url=https://alternative-zine.com/interviews/en/54 |title=Interview with: Erik Grawsiö of Månegarm |work=Alternative-Zine.com |access-date=23 October 2019 }}</ref>

== Eclecticism: ethno-gothic, pagan folk and ambient ==
A wider popular music scene has formed in Europe around festivals like the Wave-Gotik-Treffen in Germany and [[Castlefest]] in the Netherlands. The formula of bands like Dead Can Dance has spawned what Pitz-Waters has labeled "ethno-Gothic", represented by bands like [[Ataraxia (band)|Ataraxia]] from Italy, [[Rhea's Obsession]] from Canada and the Australian musician [[Louisa John-Krol]].{{sfn|Pitzl-Waters|2014|p=83}} Other openly pagan or occult-oriented bands with a clear debt to Dead Can Dance include Seventh Harmonic, Atrium Animae, [[Daemonia Nymphe]], [[Trobar de Morte]]<ref>[https://celtcast.com/trobar-de-morte-the-book-of-shadows-2020-review/ Celtcast]</ref> and Íon.{{sfn|Pitzl-Waters|2014|p=82}}

[[File:2016-08-26 Faun (Feuertal 2016) 034.jpg|thumb|left|Faun at the Feuertal Festival in [[Wuppertal]] in 2016]]
The German band [[Faun (band)|Faun]] formed in 1999 and had their first mainstream success in Germany in 2013. They emerged from the neo-Medieval music scene but developed an eclectic style, which involves folk music and [[electronic music]].{{sfn|Zirnstein|2013}} They dubbed this ''pagan folk'', a term that has been picked up by other bands such as [[Omnia (band)|Omnia]] from the Netherlands. {{sfnm|1a1=Zirnstein|1y=2013|2a1=Troyer|2y=2020|2pp=591–601}} Typical for the pagan folk genre are premodern instruments, [[Medievalism|medievalist]] costumes and imagery, as well as modern elements in order to create an idealised vision of an archaic past that is present in the contemporary world.{{sfn|Troyer|2020|pp=586, 591}}

The German [[Andrea Haugen]]'s projects Aghast, Hagalaz' Runedance and Nebelhexë express a Germanic paganism focused on the cycles of nature and feminine mysteries. Haugen's musical influences include the English neofolk of Sol Invictus and Fire + Ice, the dark wave of Dead Can Dance, and Scandinavian folk music acts like [[Hedningarna]] and [[Mari Boine]].{{sfn|Diesel|Gerten|2007|p=334}} The musicians of the Norwegian group [[Wardruna]] have a background in the metal genre, and have subsequently influenced some metal bands. Wardruna have created [[ambient music]] based on the [[runes]] and their meaning. They aim to use "the oldest of Nordic instruments"; this has included harp, [[frame drum]], [[Jew's harp|mouth harp]] and [[Bukkehorn|goat horn]], and the natural sounds of trees, rocks and water.{{sfn|Helden|2017|p=58}}

== Art music ==

Some composers of art music draw on Pagan themes. ''[[Die erste Walpurgisnacht]]'', set to music by [[Felix Mendelssohn]], tells of [[Druid]] rituals in the Harz mountains. ''[[Merry Mount (opera)|Merry Mount]]'' by [[Howard Hanson]] celebrates early colonial American Neo-Paganism. [[Iannis Xenakis]] composed ''[[Persephassa]]'' in honor of the goddess [[Persephone]]. Most of the works of [[Bronius Kutavičius]] are inspired by ancient [[Lithuania]]n polytheistic belief and music.

== See also ==
* [[Ancient music]]
* [[Beltania]]
* [[Kilkim Žaibu]]
* [[New-age music]]
* [[Occulture]]

== References ==
=== Footnotes ===
{{reflist}}

=== Sources ===
{{Refbegin|30em|indent=yes}}
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* {{cite journal |last=François |first=Stéphane |year=2007 |translator-last=Godwin |translator-first=Ariel |title=The Euro-Pagan Scene: Between Paganism and Radical Right |journal=Journal for the Studies of Radicalism |volume=1 |issue=2 |pages=35–54 |doi=10.1353/jsr.2008.0006 |issn=1930-1189 |jstor=41887576 |s2cid=144508250 }}
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* {{cite journal |last=Puchovský |first=Michal |year=2022 |url=https://journal.equinoxpub.com/POM/article/view/24260 |title=Actually, I'm Pagan Thanks to Music: The Role of Žiarislav's Music in the Life of Modern Pagans in Slovakia |url-access=subscription |journal=[[The Pomegranate]] |volume=24 |issue=1 |doi=10.1558/pome.24260 }}
* {{cite book |last=Saunders |first=Robert A. |year=2020 |chapter-url=https://books.google.com/books?id=E2XMDwAAQBAJ&pg=PT43 |chapter=''Völkisch'' vibes: Neofolk, place, politics, and pan-European nationalism |editor-last=Nieguth |editor-first=Tim |title=Nationalism and Popular Culture |location=London |publisher=Routledge |pages=36–58 |doi=10.4324/9780429321764-4  |isbn=9780429321764 }}
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* {{cite book |last=Schnurbein |first=Stefanie von |year=2016 |title=Norse Revival: Transformations of Germanic Neopaganism |location=Leiden |publisher=[[Brill Publishers]] |isbn=978-1-60846-737-2 }}
* {{cite book |last=Scotto |first=Robert |year=2013 |orig-year=2007 |title=Moondog: The Viking of 6th Avenue, Revised Edition |location=Port Townsend, Washington |publisher=Process Media |isbn=978-1-934170-41-0 }}
* {{Cite journal |last=Solie |first=Ruth A. |year=1993 |title=Women's History and Music History: The Feminist Historiography of Sophie Drinker |url=https://muse.jhu.edu/article/363303/summary|journal=[[Journal of Women's History]] |volume=5| issue=2 |pages=8–31 |location=Bloomington, Indiana |publisher=[[Indiana University Press]] |doi=10.1353/jowh.2010.0261 |s2cid=144206559 |issn=1527-2036 }}
* {{cite book |last=Strmiska |first=Michael F. |year=2012 |chapter=Paganism-Inspired Folk Music, Folk Music-Inspired Paganism and New Cultural Fusions in Lithuania and Latvia |editor1-last=Cusack |editor1-first=Carole M |editor2-last=Norman |editor2-first=Alex |title=Handbook of New Religions and Cultural Production |location=Leiden |publisher=[[Brill Publishers]] |isbn=978-90-04-22187-1 }}
* {{cite book |last=Troyer |first=Scott R. |year=2020 |chapter-url=https://books.google.com/books?id=DSXTDwAAQBAJ&pg=PA586 |chapter=Medievalism and Identity Construction in Pagan Folk Music |editor1-last=Meyer |editor1-first=Stephen C. |editor2-last=Yri |editor2-first=Kirsten |title=The Oxford Handbook of Music and Medievalism |location=New York |publisher=Oxford University Press |pages=586–608 |doi=10.1093/oxfordhb/9780190658441.013.47 |isbn=978-0-19-0658-44-1 }}
* {{cite news |last=Zirnstein |first=Michael |date=14 March 2013 |url=https://www.sueddeutsche.de/muenchen/folkband-faun-mit-minnesang-in-die-charts-1.1623590 |title=Folkband Faun – Mit Minnesang in die Charts |trans-title=Folk band Faun: with Minnesang in the charts |work=[[Süddeutsche Zeitung]] |language=de |access-date=22 July 2020 }}
{{Refend}}

==Further reading==
{{Refbegin|indent=yes}}

* {{cite thesis |last=Chase |first=Christopher |date=2009 |title=Approaching the Sacred Grove : The Orphic Impulse in Pagan Religious Music |type=PhD |publisher=[[Michigan State University]] |url=https://d.lib.msu.edu/etd/14327 |access-date=18 December 2021 }}
* {{cite journal |last=Cornish |first=Helen |year=2024 |title=Musicking and Soundscapes amongst Magical-Religious Witches: Community and Ritual Practices |journal=Religions |volume=15 |issue=1 |doi=10.3390/rel15010071 |doi-access=free }}
* {{cite book |last1=Fitzgerald |first1=Padraic |last2=Nordvig |first2=Mathias |author2-link=Mathias Nordvig |year=2023 |chapter=Spellbinding Skalds: Music as Ritual in Nordic Neopaganism |editor1-last=Borkataky-Varma |editor1-first=Sravana |editor1-link=Sravana Borkataky-Varma |editor2-last=Ullrey |editor2-first=Aaron Michael |title=Living Folk Religions |location=London and New York |publisher=Routledge |pages=191–203 |doi=10.4324/9781003257462-15 |isbn=978-1-032-19040-2 }}
* {{cite book |last=François |first=Stéphane |year=2006 |title=La Musique europaïenne. Ethnographie politique d'une subculture de droite |language=fr |location=Paris |publisher=Harmattan |isbn=2-296-01591-3 }}
* {{cite journal |last=Granholm |first=Kennet |year=2011 |title='Sons of Northern Darkness': Heathen Influences in Black Metal and Neofolk Music |journal=[[Numen (journal)|Numen]] |volume=58 |issue=4 |pages=514–544 |doi=10.1163/156852711x577069}}
* {{cite thesis |last=Letcher |first=Andrew James |date=2001 |title=The role of the bard in contemporary Pagan movements |type=PhD |publisher=[[University of Southampton]] |url=https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.393344 |access-date=25 July 2020 }}
* {{cite journal |last1=Magliocco |first1=Sabina |author-link1=Sabina Magliocco |last2=Tannen |first2=Holly |year=1998 |url=https://www.academia.edu/150896 |title=The Real Old-Time Religion: Towards an Aesthetics of Neo-Pagan Song |journal=Ethnologies |volume=20 |issue=1 |pages=175–201 }}
* {{cite book |last=Seidl |first=Roman |year=2008 |title=Ideologie im Black Metal. Eine psychologische Analyse zu Neuheidentum und rechtsextremer Gesinnung |language=de |location=Saarbrücken |publisher=AV Akademikerverlag |isbn=978-3836456494 }}
* {{cite book |last1=Weston |first1=Donna |last2=Bennett |first2=Andy |year=2014 |title=Pop Pagans : Paganism and Popular Music |language=en |location=New York |publisher=Routledge |isbn=9781844656479 }}

{{Refend}}

{{Neopaganism}}
{{Religious music}}

[[Category:Modern pagan music| ]]
[[Category:Religious music]]
[[Category:Modern pagan culture|Music]]