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Author: Willin, Melvyn J Title: Music in pagan and witchcraft ritual and culture

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MUSIC IN PAGAN AND WITCHCRAFT RITUAL AND CULTURE

Melvyn J. Willin

April 2004

"A dissertation submitted to the University of Bristol in accordance with the requirements of the degree of PhD in Historical Studies in the Faculty of the Arts"

Eighty thousandfive hundredand ninety-onewords

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MUSIC IN PAGAN AND WITCHCRAFT RITUAL AND CULTURE

SUMMARY

The history of witchcraft has been studied and written about at length over the centuries and particularly in the last few years. It has a place within the pagan movement that is generally accepted as being of prime importance, notably within modem paganism. However, the subject has not been explored in depth from a musical perspective despite music being used in rituals throughout the pagan movement and especially in witchcraft. This study makes use of historical sources and contemporary journals and books to investigate the extent to which music was used in witchcraft ceremonies in the past and the types of music allegedly used. Further to this practising covens and hedgewitches have been contacted by post asking them for details of music used in their rituals and the changes they believe that take place because of the music used. When replies were forthcoming a questionnaire was sent asking for further details and in some casesthe people concerned were visited. A cassettetape of music representing pagan themes was sent to them for their opinions as to the suitability of the music recorded. The results of this study are analysed to ascertain whether specific music is commonly used in Wiccan culture and rituals or whether there are differences purely according to the musical tastes of the individuals and reasons for the choice of music are sought. A study was also made of music from the classical repertoire that claims to represent witchcraft in fictional or mythological situations. This music is analysed to seek similar characteristics with the music used in actual Wiccan culture and a tape of music has been included in an appendix that provides representative examples of the music encountered with analysis. The results bring together information on two subjects that have not previously been seriously linked.

UNIVERSITY OFBR!c'' ?- `?.

Dedication and acknowledgements

I dedicatethis work to PerseQuenelle. I would like to expressmy sinceregratitude to my supervisorProfessorRonaldHutton without whom I would not havestartedor completedthis dissertation.He hasworked ashard asI havein trying to train my thought processesalong historical lines. I am also indebtedto other staff and studentsof the University of Bristol for their support and help. I receiveda greatdealof help from many membersof the paganandWiccan community andI appreciatethe time they spentin talking to me andthe trust that they afforded in allowing me to reproducetheir thoughtsandbeliefs. In particular I would like to thankJackiePalmanfor the help shegaveme in uncovering someof the seeminglyunfathomablemysteriesof my computer!

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