Paganism is rapidly becoming a religious, creative, and political force internationally. It has found one of its most public expressions in popular music, where it is voiced by singers and musicians across rock, folk, techno, goth, metal, Celtic, world, and pop music. With essays ranging across the US, UK, continental Europe, Australia and Asia, 'Pop Pagans' assesses the histories, genres, performances, and communities of pagan popular music. Over time, paganism became associated with the counter culture, satanic and gothic culture, rave and festival culture, ecological consciousness and spirituality, and new ageism. Paganism has used music to express a powerful and even transgressive force in everyday life. 'Pop Pagans' examines the many artists and movements which have contributed to this growing phenomenon.

Paganism is rapidly becoming a religious, creative, and political force internationally. It has found one of its most public expressions in popular music, where it is voiced by singers and musicians across rock, folk, techno, goth, metal, Celtic, world, and pop music. With essays ranging across the US, UK, continental Europe, Australia and Asia, 'Pop Pagans' assesses the histories, genres, performances, and communities of pagan popular music. Over time, paganism became associated with the counter culture, satanic and gothic culture, rave and festival culture, ecological consciousness and spirituality, and new ageism. Paganism has used music to express a powerful and even transgressive force in everyday life. 'Pop Pagans' examines the many artists and movements which have contributed to this growing phenomenon.

Paganism is back and its loud. Widely regarded as rationalized out of the West, paganism is rapidly becoming a religious, creative, and political force internationally. It has found its most public expression in popular music, where it now influences singers and musicians across rock, folk, techno, goth, metal, Celtic, world, and pop music. With essays ranging widely across the US, UK, continental Europe, Australia and Asia, Pop Pagans examines the histories, genres, performances, and communities of pagan popular music. Pagan music has a history, one often connected with specific sites or places. Over time, it became associated with the counter culture, satanic and gothic culture, rave and festival culture, ecological consciousness and spirituality, and new ageism. Paganism has used music to become a powerful and transgressive force in everyday life. Pop Pagans examines the many artists and movements which have contributed to this growing phenomenon.

The Oxford Handbook of Music and Medievalism provides a snapshot of the diverse ways in which medievalism--the retrospective immersion in the images, sounds, narratives, and ideologies of the European Middle Ages--powerfully transforms many of the varied musical traditions of the last two centuries. Thirty-three chapters from an international group of scholars explore topics ranging from the representation of the Middle Ages in nineteenth-century opera to medievalism in contemporary video game music, thereby connecting disparate musical forms across typical musicological boundaries of chronology and geography. While some chapters focus on key medievalist works such as Orff's Carmina Burana or Peter Jackson's Lord of the Rings films, others explore medievalism in the oeuvre of a single composer (e.g. Richard Wagner or Arvo P�rt) or musical group (e.g. Led Zeppelin). The topics of the individual chapters include both well-known works such as John Boorman's film Excalibur and also less familiar examples such as Eduard Lalo's Le Roi d'Ys. The authors of the chapters approach their material from a wide array of disciplinary perspectives, including historical musicology, popular music studies, music theory, and film studies, examining the intersections of medievalism with nationalism, romanticism, ideology, nature, feminism, or spiritualism. Taken together, the contents of the Handbook develop new critical insights that venture outside traditional methodological constraints and provide a capstone and point of departure for future scholarship on music and medievalism.

For some people, at some times, in some places, on some drugs, dance music can be a gateway to transformative, even transcendent experiences. With the help of skilled DJs, dancers can reach euphoric states, discard their egos, and feel social barriers dissolve. Dance floors can be sites of openness, subversion, and even small-scale acts of political resistance. At a minimum, dance music lightens the burdens of contemporary life. At its best, dance music offers glimpses of better worlds. Yet even where dance music communities are built on principles of resistance and liberation, they nevertheless share the grittier realities of the rest of the world. Dance Music makes the case that dance music is ordinary and that something exceeding the social and spatiotemporal bounds of the dance floor is required for the transformative promise of dance music to be realized.

Straightforward discussion about how the new spirituality, or paganism, is creeping into the Church, & how to stand firm in Biblical Christianity.

'Paganism' is an evocative word that, even today, conjures up deep-seated emotions and prejudices. Until recently, it was primarily a derogatory term used by Christians to describe the non-Christian cultures confronted and vanquished by their Churches. For some it evokes images of sacrifice and barbaric behaviour, while for others it symbolises a peace-loving, nature-worshipping spiritual relationship with the earth. This Very Short Introduction explores the meaning of paganism - through a chronological overview of the attitudes towards its practices and beliefs - from the ancient world through to the present day. Owen Davies largely looks at paganism through the eyes of the Christian world, and how, over the centuries, notions and representations of its nature were shaped by religious conflict, power struggles, colonialism, and scholarship. Despite the expansion of Christianity and Islam, Pagan cultures continue to exist around the world, whilst in the West new formations of paganism constitute one of the fastest-growing religions. Focussing on paganism in Europe, but exploring the nature of paganism globally, Davies looks at how Europeans discovered new cultures through colonial expansion, missionary work, and anthropological study. Contemporary social paganism can be a liberating and social force, and the idea of a global Pagan theology is now on the religious map. ABOUT THE SERIES: The Very Short Introductions series from Oxford University Press contains hundreds of titles in almost every subject area. These pocket-sized books are the perfect way to get ahead in a new subject quickly. Our expert authors combine facts, analysis, perspective, new ideas, and enthusiasm to make interesting and challenging topics highly readable.

The second edition of The Bloomsbury Handbook of Religion and Popular Music provides an updated, state-of-the-art analysis of the most important themes and concepts in the field, combining research in religious studies, theology, critical musicology, cultural analysis, and sociology. It comprises 30 updated essays and six new chapters covering the following areas: · Popular Music, Religion, and Performance · Musicological Perspectives · Popular Music and Religious Syncretism · Atheism and Popular Music · Industrial Music and Noise · K-pop The Handbook continues to provide a guide to methodology, key genres and popular music subcultures, as well as an extensive updated bibliography. It remains the essential tool for anyone with an interest in popular culture generally and religion and popular music in particular.

Rufinus' vivid account of the battle between the Eastern Emperor Theodosius and the Western usurper Eugenius by the River Frigidus in 394 represents it as the final confrontation between paganism and Christianity. It is indeed widely believed that a largely pagan aristocracy remained a powerful and active force well into the fifth century, sponsoring pagan literary circles, patronage of the classics, and propaganda for the old cults in art and literature. The main focus of much modern scholarship on the end of paganism in the West has been on its supposed stubborn resistance to Christianity. The dismantling of this romantic myth is one of the main goals of Alan Cameron's book. Actually, the book argues, Western paganism petered out much earlier and more rapidly than hitherto assumed.The subject of this book is not the conversion of the last pagans but rather the duration, nature, and consequences of their survival. By re-examining the abundant textual evidence, both Christian (Ambrose, Augustine, Jerome, Paulinus, Prudentius) and "pagan" (Claudian, Macrobius, and Ammianus Marcellinus), as well as the visual evidence (ivory diptychs, illuminated manuscripts, silverware), Cameron shows that most of the activities and artifacts previously identified as hallmarks of a pagan revival were in fact just as important to the life of cultivated Christians. Far from being a subversive activity designed to rally pagans, the acceptance of classical literature, learning, and art by most elite Christians may actually have helped the last reluctant pagans to finally abandon the old cults and adopt Christianity. The culmination of decades of research, The Last Pagans of Rome will overturn many long-held assumptions about pagan and Christian culture in the late antique West.