Pagan Music Project: Risky Material From the Forbidden Library

Learn how Classical Music harbors subliminal and not-so subliminal Pagan messages.

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Amarfa

Amarfa

Amarfa has been studying the occult, wicca, and paganism for 17 years and counting.  She has been a musician since age 5, studying first guitar, then accordion for 10 years, placing 2nd in her division in the 1995 ATARI/ATAM New England Regional Competition,  and has been studying voice for 9. She has directed small early music ensembles, performed publicly, and starred in local theatre works, particularly the World Premiere of Nightsong, a musical theatre piece with direction and book by Jon Brennan and music by Kari Tieger and Kevin Campbell, as well as composing a musical of her own and writing music in her spare time.

Blog entries tagged in cultural appropriation

Posted by on in Studies Blogs
Debussy: A Return

In response to Joseph Bloch's call for a July Blogfest on Cultural Appropriation, I once again present Claude Debussy.  

Debussy should be wildly important to modern Pagans, primarily as a French composer in Paris at the end of the 19th, turn of the 20th centuries who was admittedly Pagan, participated in some occult activities, (Societe de la Rose Croix that we know of) and is fully part of the Classical music paradigm.   (Paris and Vienna both were hotbeds of occult and new-age spiritual activity, especially due to the opening of new trade routes and better shipping and overseas travel.) 

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Recent Comments - Show all comments
  • Ted Czukor
    Ted Czukor says #
    Gee, Candi, if Debussy is a copycat then so is Shakespeare! The Bard borrowed older storylines in practically everything he wrote.
  • Amarfa
    Amarfa says #
    Thanks, Tammye! Afternoon of a Faun was, to me, the greatest Pagan "outburst" of the musical art of the Gilded Age. Have you rea
  • Tammye McDuff
    Tammye McDuff says #
    I love Debussy, one of my favorite pieces is Prelude to the Afternoon of a Faun. He captures the imagination and transforms his mu

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