Pan (pàn) noun
The god of woods, fields, and flocks, having a human torso and head with a goat's legs, horns, and ears.
[Middle English, from Latin Pân, from Greek Pan.]
Pan had many attributes as a god. He was the god of goats, and sheep, and their shepherds. He was the god of bee keeping. He was also a god of music, playing upon the reed pipes he made from the transformed body of the nymph Syrinx (the one that got away). It was said that this music could inspire panic (the root of the word) in any who heard it. Sometimes he was a minor god of the sea. He was a god of prophesy and was also famous for being randy (Greek women with a track record were known as Pan girls). Above all he was the god of nature: meadows, forests, beasts, and even human nature.
Pan's worship spread far beyond Greece into many neighbouring countries such as Egypt, and local equivalents of him seem to have appeared all over the world, either by diffusion or coincidence. Pan-like deities existed everywhere. In Greece there were rustic gods such as Aristaeus (flocks, agriculture, bee-keeping, vineculture), Priapus (the same) and Silenus (vineculture and knowledge).
Then there were the satyrs, an entire race of Pan-like beings, who lounged in woods and by streams, eating, drinking and fornicating, and not much else. The Romans called them incubi or fauns, and the iron age Celts were said to believe in dusii. These were not gods but nature spirits, and were not worshipped but only believed in, and perhaps propitiated.
Did Disney, with its numerous occult influences, make a palatable version in Peter Pan?
Chapter xxi. The Great Pan Is Dead from _Hamlet's Mill: An Essay Investigating the Origins of Human Knowledge and Its Transmission Through Myth_
Pan feverishly pursued a nymph, Syrinx, who was transformed into a reed to escape his attentions. Somewhat irate, Pan bound together reeds of different lengths, and in so doing engineered a unique and melodious instrument.
"I maintain, then, that there is a spirit coiling and roiling in the bowels of the earth, radiating out from the mouths of caves, flashing like a slow-motion lightning along fault lines, sprinkling out with the water from springs and wells, pulsing like heartbeats along certain barely-recognized runways across the land."
-- Jim Brandon, _The Rebirth of Pan: Hidden Faces of the American Earth Spirit_(1983)
Trance music in Morocco is magical in origin and purpose, concerned with the evocation and control of spiritual forces. In Morocco musicians are magicians. Gnauoa music is used to drive out evil spirits. The music of Jajouka evokes the God Pan, God of Panic, representing the real magical forces that sweep away the spurious. It is to be remembered that the origin of all arts -- music, painting, and writing -- is magical and evocative, and that magic is always used to obtain some definite result. - W. S. Burroughs
release - _The Pipes Of Pan: Jajouka_ by Brian Jones and The Master Musicians Of Jajouka. Jajouka is a small village in the foothills of the Rif Mountains of northern Morocco, where Great Pan is still honored. Transcending time, space and religion, and traveling from ancient Egypt through numerous cultures wearing various names, he survives in Jajouka not only as a myth, but as reality - in the Master Musicians of the Pipes of Pan.
604 entity Pan
ambient abstract entity Pan Sonic
release: _Aaltopiiri_ CD on Blast First (2001)
_Aaltopiiri_ offers the listener a wide range of flowing, atmospheric sounds and rhythms. Recorded at their studio in Barcelona, the pair choose an improvising approach to recording their music. "When we are in the studio everything is recorded straight on to tape. We might do several takes of a song, but there are no overdubs," explains Mika. Mainly recorded on analogue equipment, some of which is designed and built for them by long time friend, Geri Lehtinen, a physics expert. "For me the most important thing in our music is the sound itself," says Mika. "The structure is secondary. For different kinds of tracks, of course, were looking for different kinds of sounds. But I still don’t know myself what is in a sound that attracts me. There’s some kind of nature in the sound itself, some kind of information."