Ancient Musical Discoveries in Slovakia (original) (raw)
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Musical instruments in the Central Balkan Neolithic
Archaeological small finds and their significance. Proceedings of the Symposium Games and Toys, 2017
Music is one of the earliest arts, and its origins are very important for the understanding of the human evolution. Musical behaviour is universal for all past and present communities, and is related to many ritual and leisure activities. The earliest musical instruments are discovered in the Early Upper Palaeolithic, and include mainly whistles and flutes. However, identification of sound-producing instruments in prehistory is a very difficult task, due to various reasons – one is poor preservation, but also the available data available are often ambiguous. In this paper an attempt will be made to identify all possible sound-producing instruments discovered so far in the Neolithic in the central Balkan area, to classify them, and finally to offer hypotheses on their significance and possible use. Artefacts include several possible bone flutes and also several rattles and they may have been used as toys as well as on festivals and in ritual activities.
Selected Attributes of Music and Musical Instruction in Slovakia During the Classical Period
Music Scholarship / Problemy Muzykal'noj Nauki, 2021
The article focuses on the era of Classicism in Slovakia. It presents both systematic and specific research activities of Slovak musicologists; it describes the geographical location of the Slovak territory within Kingdom of Hungary; it characterizes the components of musical culture and the forms of musical performance. Special attention is given to the greater regional musical and cultural centers, which at that time were represented by the towns Bratislava and Košice. Description is given of the level of musical life in both cities and its formative components, i.e. the influences of the nobility, the church and the bourgeoisie. Focus is made on musical education within the reformed school system in the Kingdom of Hungary; mention is made of the unique textbooks by Franz Paul Rigler and Johann Nepomuk Hummel, and contributions of other important figures.
Feasting with music? A musical instrument and its context from the later 5 th millennium BC Hungary
Germania 99, 2022
Feasts, occasions of festive commensality, play a prominent role in every human society, and prehistory was no exception. An assemblage suggesting a deposition act performed after feasting came to light from a closed context on a Copper Age site dating from the later 5th millennium BC in the north-westerly region of the Carpathian Basin. One of the pits among the many similar features lying between the houses of the settlement at Mosonszentmiklós-Pálmajor, Hungary, contained a remarkable set of pit’s floor was covered with a greasy, blackish organic layer, onto which were cattle long bones and intact vessels, one interpreted as a drum, alongside an clay horn, which can still be played as a musical instrument today. The musical instrument(s), the other finds and of the overall context was with the evaluation of the radiocarbon dates and the botanical analysis of the taken from the vessels, which strongly indicated that the assemblage can be a deposit made after feasting.
The History of Vocal Music in Slovakia
2014
This study is focused on the history of vocal music in Slovakia starting in the prehistoric era all th e way to the 21 st century. It describes the characteristic features o f particular historical periods from the vocal musi c aspect. It covers different kind, forms and genres of sacral and secu lar music.
Music and Sounds in Ancient Europe
2018
Graphic design and printing www.revelox.it-Roma With the support of the Culture Programme of the European Union EUROPEAN MUSIC ARCHAEOLOGY PROJECT Our history as Europeans reveals a strong network of exchanges, relationships, loans and shared developments. In this rich and wonderful tapestry, music plays a major role, both as a foil to the natural predisposition of this language to contamination, and for its exceptional importance in the generation of personal identity. Travelling back in time through Europe's musical past, therefore has a huge cultural and political value. Through the discovery of ancient instruments and the resulting ability to understand and appreciate the music which was played and heard throughout Europe, from the Stone Age up to the end of the Viking period, and in some cases beyond, we can in fact go to the source of our identity and see the wealth which comes from the meeting of different cultures. The European project EMAP-European Music Archaeology Project and the travelling exhibition ARCHAEOMUSICA-The Sounds and Music of Ancient Europe, were developed with this primary goal in mind, within the framework of the Culture Programme of the European Commission. The travelling exhibition, enriched by presentations and workshops, involved ten different institutions and seven different countries. A great amount of research and organization has gone into it and this has borne fruit. Here, in Lazio, there has been a great deal of public interest in the project and it has been enthusiastically supported by many young people. This is a great success story, one in which we are really proud to have been able to participate, and it confirms how crucial it is to establish a common cultural identity: not only to promote a peace, but also to develop conditions within which we can do things together, sharing planning and scientific investigations, into the significance of cultural heritage within the European and Mediterranean koiné.
Music and Sound in Ancient Europe: Contributions from the European Music Archaeology Project
2018
Graphic design and printing www.revelox.it-Roma With the support of the Culture Programme of the European Union EUROPEAN MUSIC ARCHAEOLOGY PROJECT Our history as Europeans reveals a strong network of exchanges, relationships, loans and shared developments. In this rich and wonderful tapestry, music plays a major role, both as a foil to the natural predisposition of this language to contamination, and for its exceptional importance in the generation of personal identity. Travelling back in time through Europe's musical past, therefore has a huge cultural and political value. Through the discovery of ancient instruments and the resulting ability to understand and appreciate the music which was played and heard throughout Europe, from the Stone Age up to the end of the Viking period, and in some cases beyond, we can in fact go to the source of our identity and see the wealth which comes from the meeting of different cultures. The European project EMAP-European Music Archaeology Project and the travelling exhibition ARCHAEOMUSICA-The Sounds and Music of Ancient Europe, were developed with this primary goal in mind, within the framework of the Culture Programme of the European Commission. The travelling exhibition, enriched by presentations and workshops, involved ten different institutions and seven different countries. A great amount of research and organization has gone into it and this has borne fruit. Here, in Lazio, there has been a great deal of public interest in the project and it has been enthusiastically supported by many young people. This is a great success story, one in which we are really proud to have been able to participate, and it confirms how crucial it is to establish a common cultural identity: not only to promote a peace, but also to develop conditions within which we can do things together, sharing planning and scientific investigations, into the significance of cultural heritage within the European and Mediterranean koiné.
Archaeomusicology is quite a rich and fascinating research field when we try to operate with more acoustical methods. Having used frequency analysis, sound level measuring and calculating acoustic radius in the open air in my dissertation for making statements on the development of musical instruments in prehistory, I shall now include in this work the analyzing of musical instruments represented in pictures and statues. The geographical region of my present research area expands from the river Salzach in Austria to the Danube in Hungary, from the Upper-Sava to the Bohemian Massif . All in all 44 musical instruments and sound objects of the Late Bronze Age (Lausitz Culture and Urnfield Culture), 109 musical objects of the Hallstatt Culture, 11 of the La Tène Culture as well as 29 iconographical depictions are the basic corpus of this archaeomusicological essay.