Soundscapes of the Ancient Mediterranean. Tintinnabulum and Paleochristian Basilicas in Mallorca. An Interdisciplinary Approach (original) (raw)
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Telestes, 2023
Sound Experience and Musical Performances in Funerary Rituals of the Ancient World · The study of funerary rituals in ancient societies has been profoundly renewed thanks to new archaeological discoveries as well to new approaches related to performance. Within this context, the evidence offered by material culture should play a critical role in improving our knowledge of music, sounds, body movements, and dance, all of which constituted an important aspect of ceremonies in funerary contexts. Considering funerary rituals in the ancient world, this paper aims to explore material evidence related to musical performances, sounds, and rhythmical movements, and highlight the contribution of this evidence to a deeper understanding of the cultural, sensorial, and social meanings and functions of these performances, by reconstructing the many different ways, spaces, and contexts in which they were experienced. Keywords · Soundscape, Sonic Experience, Funerary Ritual, Sonic Space, Sensory Experience of Death, Body Movements.
Telestes, 2023
http://www.libraweb.net/articoli.php?chiave=202314701&rivista=147 «Telestes» seeks to fill the gap between existing treatments of the subdiscipline of ‘archaeomusicology’, or ‘music archaeology’ – rooted quite self-consciously in the methods of ancient music and dance scholars – and the possibilities offered by the rather different perspectives that have recently emerged within archaeology, art history, archaeology of performance, and sensory studies. Although over the last decade various scholarly disciplines have devoted increasing attention to ancient music and dance, they have done so by focusing on textual sources. However, in reconstructing features of ancient music and dance performances, the evidence offered by material culture within its archaeological context, although overlooked in previous studies, should play a critical role. Considering music and dance performances in the ancient world, this international journal explores material evidence for music and dance, and highlight the contribution of this evidence to a deeper understanding of the cultural and social meanings and functions of music and dance within activities of ritual and everyday life, reconstructing the many different ways and contexts in which they were experienced. Thus, through an archaeological approach to performance that places musical and dance activities within an actual or symbolic space, the study of material evidence of music and dance interests constitutes a valuable investigation that can shed light on the ritual meaning and social function of sonic events, as well as on the role of musicians and dancers in antiquity. «Telestes» also aims to explore how the study of instruments and sound objects has involved a wide variety of disciplines within and beyond the boundaries of anthropology and archaeology, including sound and acoustics studies, archaeomusicology (such as, among others, ethnoarchaeomusicology), history of religion, classics, history, digital humanities, and digital heritage. The range of different contexts presented allows us to improve our knowledge with regard not only to the nature of the evidence and the different forms of documentation and sources related to instruments and sound objects, but also how sound contributed to giving a contextualised sense of ritual and social place. Investigating the role of music and dance as more than a mere accompaniment or a means of entertainment, this journal is particularly revealing in terms of how musical and dance performances are intertwined and inseparable from ritual aspects, each serving as a structure and framework for the other and providing set forms of action that are related to the religious and social beliefs of a given culture. The journal welcomes research on the broadly defined Mediterranean region and from other areas of the world, such as Northern Europe, Central and South America, Africa, Southeast Asia, and the Pacific Rim. Contributions pertaining to different periods are welcome. Cross-disciplinary and multi-disciplinary approaches would be particularly appreciated. The preferred language for the contributions is English, but other languages (including German, French, Italian and Spanish) are acceptable. Special issues focused on a specific research area are also envisaged.
TELESTES. An International Journal of Archaeomusicology and Archaeology of Sound Rivista annuale / A Yearly Journal Direttore / Editor-in-Chief Angela Bellia (National Research Council, Italy) Comitato scientifico / Editorial board: Erica Angliker, University of London; Eleonor Betts, The Open University; Sheramy D. Bundrick, University of South Florida St Petersburg; Licia Buttà (University of Tarragona); Margarita Díaz-Andreu, University of Barcelona; Ingrid Furniss, La Fayette College, Pennsylvania; Agnès Garcia-Ventura, Universitat Autònoma de Barcelona; Laura Gianvittorio-Ungar, Austrian Archaeological Institute of Wien; Michael Given, University of Glasgow; Audrey Gouy, University of Copenhagen; Ewa Anna Gruszczynska-Ziólkowska, University of Warsaw; Raquel Jiménez Pasalodos, University of Barcelona-University of Valladolid; Cristina Manzetti, Foundation for Research and Technology - Hellas, Institute for Mediterranean Studies; Clemente Marconi, New York University - University of Milan; Tommaso Mattioli, University of Barcelona; Manolis Mikrakis, National Technical University of Athens; Steve Mills, University of Cardiff; Dimitrij Mlekuz, University of Ljubljana; Riitta Rainio, University of Helsinki; Arnaud Saura-Ziegelmeyer, University of Toulouse II Jean Jaurès; Karin Schapbach, University of Fribourg; Lamberto Tronchin, University of Bologna; Fábio Vergara Cerqueira, University of Pelotas; Alexandre Vincent, University of Poitiers. Redazione/Associate Editors Arnaud Saura-Ziegelmeyer (University of Toulouse II Jean Jaurès) Daniel Sánchez Muñoz (University of Granada) «Telestes» is an International Peer-Reviewed Journal https://libraweb.voxmail.it/user/ws1nagy/show/jkeix4?\_t=a44c59e9&fbclid=IwAR3ROScD8xY5bqPXBJaoNTdVoYFsueyPYDdAQgRb942ThCkDvVZKPj9Ul34 «TELESTES» seeks to fill the gap between existing treatments of the sub-discipline of ‘archaeomusicology’, or ‘music archaeology’ – rooted quite self-consciously in the methods of ancient music and dance scholars – and the possibilities offered by the rather different perspectives that have recently emerged within archaeology, art history, archaeology of performance, and sensory studies. Although over the last decade various scholarly disciplines have devoted increasing attention to ancient music and dance, they have done so by focusing on textual sources. However, in reconstructing features of ancient music and dance performances, the evidence offered by material culture within its archaeological context, although overlooked in previous studies, should play a critical role. Considering music and dance performances in the ancient world, this new international journal will explore material evidence for music and dance, and highlight the contribution of this evidence to a deeper understanding of the cultural and social meanings and functions of music and dance within activities of ritual and everyday life, reconstructing the many different ways and contexts in which they were experienced. Thus, through an archaeological approach to performance that places musical and dance activities within an actual or symbolic space, the study of material evidence of music and dance interests constitutes a valuable investigation that can shed light on the ritual meaning and social function of sonic events, as well as on the role of musicians and dancers in antiquity. «TELESTES» also aims to explore how the study of instruments and sound objects has involved a wide variety of disciplines within and beyond the boundaries of anthropology and archaeology, including sound and acoustics studies, archaeomusicology (such as, among others, ethnoarchaeomusicology), history of religion, classics, history, digital humanities, and digital heritage. The range of different contexts that will be presented in this new journal will allow us to improve our knowledge with regard not only to the nature of the evidence and the different forms of documentation and sources related to instruments and sound objects, but also how sound contributed to giving a contextualised sense of ritual and social place. Investigating the role of music and dance as more than a mere accompaniment or a means of entertainment, this journal will be particularly revealing in terms of how musical and dance performances are intertwined and inseparable from ritual aspects, each serving as a structure and framework for the other and providing set forms of action that are related to the religious and social beliefs of a given culture. Furthermore, the journal publishes papers on the study of sound and hearing along with related sensorial aspects in archaeological contexts and on past soundscapes and sonic fabrics (anthrophony, biophony, and geophony): this includes subject areas that range from the behaviour of sound in a sonic space and aural architecture to auditory experience and physical acoustics, as well as auditory archaeology and the importance of sound as a medium of social interaction in the past. The journal welcomes research on the broadly defined Mediterranean region and from other areas of the world, such as Northern Europe, Central and South America, Africa, Southeast Asia, and the Pacific Rim. Contributions pertaining to different periods are welcome. Cross-disciplinary and multi-disciplinary approaches would be particularly appreciated. The preferred language for the contributions is English, but other languages (including German, French, Italian and Spanish) are acceptable. Special issues focused on a specific research area are also envisaged. As a guarantee of the high scientific value of the journal, the rigorous application of these methodologies will be surveyed by an International Scientific Committee whose scholars have welcomed the initiative with approval and enthusiasm, as a guarantee of the high scientific value of the journal, and will edited in Italy by Fabrizio Serra editore, a well-established international publishing house of authoritative tradition. Last but not least, this new international publication also aims to encourage young scholars to submit their work, thus offering a valuable opportunity to disseminate their research findings in the hope that they will respond with enthusiasm to this new editorial project. CONTENTS FERNANDO A. COIMBRA, The Contribution of Rock Art for Understanding the Origins of Music and Dancing ANGELIKI LIVERI, Soundscape of Public Festivals in Athens (Panathenaia and City Dionysia) FÁBIO VERGARA CERQUEIRA, The ‘Apulian Cithara’ on the Vase-Paintings of the 4th c. BC: Morphological and Musical Analysis ANGELA BELLIA, Sounds of Childhood in the Ancient World CLAUDINA ROMERO MAYORGA, Music in Mystery Cults: Towards a Comprehensive Catalogue JEAN-CHRISTOPHE VALIÈRE, BÉNÉDICTE BERTHOLON, VASCO ZARA, DAVID FIALA, Experimenting with the Acoustic Pots Chamber of Noyon Cathedral (late 16th c.?): An Archaeoacoustic and Musicological Investigation JOSÉ NICOLÁS BALBI, ISABELLA LEONE, GUSTAVO MANUEL CORRADO, Sound of the Stones: A Preliminary Survey in an Inka Temple of the Argentine Andes
This current volume is intended to explore visual and archaeological evidence, as well as literary and epigraphic written sources, which inform us that musical and choral performances were an important part of many cults and rituals performed in spaces and architectural buildings of the ancient world. Despite it being difficult to ascertain whether specific spaces were intended for the performance of music and dance through archaeological records, the essays featured in this book raise the notion that particular architectural features might have facilitated music and dance performances. Contributing authors were asked to address music and dance which took place not only in dedicated musical settings and dance floors in purpose-built spaces in the forecourts of the sanctuaries, but also instances of performance along processional streets and around altars and cult statues, as well as on monumental steps and in dining rooms in a sacred context. Together, the papers cover different regions and a broad chronological span. Furthermore, most papers present archaeological material that has either been recently discovered or is published here for the first time. Contents: Angela Bellia, Acknowledgements. Abbreviations. Contributors. Angela Bellia, Introduction; Erica Angliker, Dances, Rituals and Spaces at the Sanctuary of Despotiko; Daniel Sánchez Muñoz, e2 nam-nar-ra: A Musical Royal Space in Ancient Mesopotamia; Caleb Patrick Simone, Dancing for Artemis at Brauron: Choreia and the Shaping of Sacred Space; Sylvain Perrot, Musical and Choral Performance Places in Hellenistic Delos; Angela Bellia, Monumental Steps and Theatral Steps as Sacred Spaces for Music and Dance Performances; Marco Serino, Musical Space as Symbolic Space. Communication Strategies and Local Social Identity in Red-Figure Vases of the Himera Painter’s Workshop. Index of Places. Subject Index. http://www.libraweb.net/index.php?dettagliononpdf=1&chiave=3446&valore=sku&name=Telestes5\_Bellia.jpg&h=849&w=600
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.
Music, gender and rituals in Ancient Mediterranean: revisiting the Punic evidence
World Archaeology, 44, 3, 2012
Music, playing instruments and performing rituals are bodily activities and as such they can be studied stressing their corporeal features. Music and sounds are usually essential elements in rites, and bodies play an essential role in bringing together music and rituals. We explore these issues focusing on Punic terracotta figurines playing musical instruments recovered from the island of Ibiza (fifth to third centuries BC).
Knight, D.J. 2013. The Archaeoacoustics of a Sixth-Century Christian Structure: San Vitale, Ravenna.
Music & Ritual: Bridging Material & Living Cultures, 2013
The archaeoacoustics of ceremonial structures has been of interest to a variety of heritage specialists, including archaeologists, architectural historians and acousticians. The study of the late antique Basilica of San Vitale at Ravenna is discussed here in relation to how its acoustic characteristics may have facilitated and enhanced the liturgical function of the building as a congregational church. The experimental results of measuring sound propagation, reverberation and clarity of the interior octagonal space of San Vitale, are set with contemporary 6th century descriptions of vocal musical play with reverberation and echo. A quotation by Cassiodorus of Ravenna is identified as relating to architectural acoustics and musical performance in a ritual setting. An exploration of observations made while performing the late antique Ravennate chant Lux de luce Deus tenebris illuxit averni inside San Vitale is offered in order to understand how this site affords reciprocity between the enclosed sacred space and a ritual sonic performance, specifically musical and oratorical vocalisations. The immersive quality of San Vitale’s long reverberation times and clarity favouring musical rather than spoken vocalisations, are interpreted here as influencing and helping shape the style of musical performance at the 6th century capital of the Western Empire.
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.