Soundscapes of the Ancient Mediterranean. Tintinnabulum and Paleochristian Basilicas in Mallorca. An Interdisciplinary Approach (original) (raw)

Abstract

The tintinnabula and the chant in the Paleochristian basilicas of Mallorca are analysed here, as an example of interdisciplinary approach from the archaeologial and ethnomusicologial perspectives that allows to outline soundscapes that linked the ancient Mediterranean communities. The term soundscape is used here as a definition of musical practices within a music timbre concept shared from early times. So that, the nature of sound is considered in this paper as the element that links a group of diverse idiophones in the Mediterranean, manufactured in metal and related to funerary sites (from Sicily to Sardinia, Corsica, Crete, Egypt, Italy and the Catalan-Valencian coast) such as tintinnabula-bronze discs that appear in the Balearic Islands dated 650 B.C. up to 123 B.C.) and small bells and other instruments. The various contributions lead to the consideration of these instruments as processional or dance ones, and underlying all these examples remains the «sound idea» or «timbre idea» common to them, which becomes a conceptualization or symbolization of their sound present throughout the Mediterranean. Centuries later, another example of a musical repertoire shared in this geographical setting becomes also significant from the archaeological contributions. The chant in the Balearic Paleo-Christian basilicas (4th-9th centuries A.D.) can be related to the performance of a vocal repertoire similar to the Christian musical practices from North Africa; a hypothesis that is reinforced with documents such as the letter from the Bishop Severe (s. V), descriptions of the pregregorian repertoire sung in North Africa (McKinnon 2000), as well as ceramics remains and elements of the tombs examined in recent excavations. The multidisciplinary approach allows to enrich the knowledge of musical practices in early historical periods, in addition to documenting the exchange between the different Mediterranean communities. It is a fact that this exchange was not only goods, but also cultural, religious and anthropological practices.

Figures (4)

Fig. 1. Tintinnabulum. Museu d’Historia de Manacor. According to Garcia & Jiménez (2011: 92) and Lund & Hagberg (1993: 375) the fact that these objects sound does not mean that they are necessarily musical instruments; this is one of the starting points that should not be forgotten. Despite this consideration, Balearic “ntinnabula evoke objects for musical use; and also, the bronze bells found in various archaeological sites in the Balearic Islands. These instruments are present in National Collections, such as those of the Museu de Mallorca, Museu Arqueologic de Catalunya and Museu Arqueologic Nacional; in addition to the existing specimens in local museums — such as Arta, Lluc and Manacor. The study of these instruments from a broader geographical perspective leads to the presumption that some idiophones of different types are present at burial sites throughout the Mediterranean. All in all, it allows us to develop the hypothesis of musical practices that maintain a common element: the sound, the timbre associated with metal idiophones. This specific sonority is defined here by the term shared soundscape, which implies, at the same time, a symbolization of the sound as an element present in burial rites; a concept that seems to have been spread throughout the Mediterranean

Fig. 1. Tintinnabulum. Museu d’Historia de Manacor. According to Garcia & Jiménez (2011: 92) and Lund & Hagberg (1993: 375) the fact that these objects sound does not mean that they are necessarily musical instruments; this is one of the starting points that should not be forgotten. Despite this consideration, Balearic “ntinnabula evoke objects for musical use; and also, the bronze bells found in various archaeological sites in the Balearic Islands. These instruments are present in National Collections, such as those of the Museu de Mallorca, Museu Arqueologic de Catalunya and Museu Arqueologic Nacional; in addition to the existing specimens in local museums — such as Arta, Lluc and Manacor. The study of these instruments from a broader geographical perspective leads to the presumption that some idiophones of different types are present at burial sites throughout the Mediterranean. All in all, it allows us to develop the hypothesis of musical practices that maintain a common element: the sound, the timbre associated with metal idiophones. This specific sonority is defined here by the term shared soundscape, which implies, at the same time, a symbolization of the sound as an element present in burial rites; a concept that seems to have been spread throughout the Mediterranean

It is worth highlighting its economic value, important in the Talayotic and Postalayotic, with a manufacturing process that was expensive for the metallurgical workshops of those historical periods. Only the possession of apotropaic or protective properties, or the ability to gather a very important symbolic burden for the community explains its amortization in burials. The existence of real instruments and others that could be a representation of what the «real» instrument was also speaks to the high degree of symbolism they had achieved (Giumlia 2010: 482). Finally, it must be said that the starting point here was the study of #ntinnabula, bells and sistrums as idiophones of the same category made mostly of bronze - and other alloys such as iron and tin. They are considered, here, as equivalent sound objects of the family of idiophones that appear in funerary contexts in many places in the Mediterranean, with similar acoustic properties. In this sense, the classification of idiophones provided by Guarch (2017: 30) which is detailed in Fig, 2 below, allows us to visualize this concept of sonority: idiophones with different possibilities of manipulation.

It is worth highlighting its economic value, important in the Talayotic and Postalayotic, with a manufacturing process that was expensive for the metallurgical workshops of those historical periods. Only the possession of apotropaic or protective properties, or the ability to gather a very important symbolic burden for the community explains its amortization in burials. The existence of real instruments and others that could be a representation of what the «real» instrument was also speaks to the high degree of symbolism they had achieved (Giumlia 2010: 482). Finally, it must be said that the starting point here was the study of #ntinnabula, bells and sistrums as idiophones of the same category made mostly of bronze - and other alloys such as iron and tin. They are considered, here, as equivalent sound objects of the family of idiophones that appear in funerary contexts in many places in the Mediterranean, with similar acoustic properties. In this sense, the classification of idiophones provided by Guarch (2017: 30) which is detailed in Fig, 2 below, allows us to visualize this concept of sonority: idiophones with different possibilities of manipulation.

Fig. 3. Map where the places quoted in the references can be seen. It is not an exhaustive index, but a visual map that labels the approximate locations where idiophones appear, the vast majority in funerary contexts. The map legends are: Gi (Giumlia and others 2010), Go (Goma 2018), Gu (Guarch 2017), Li (Li Castro 2018), Me (Mezquida 2017), Mi (Milan 2016), P & LI (Perello & Llull 2014, 2019); Sa (Sachs 1940). There are some places that appear in various studies, but here the main reference is mentioned. The bibliographic references of each study mentioned here provide the detailed account of places. Source: personal elaboration. nderlying all these objects linked to burials within the Mediterranean context, remains the sound édea producec y the bells and the tinkling. One should not think so much of the repertoire or «pieces» that could be performec it of the «sound idea» or «timbre concepdy that was obtained. In short, a symbolic conceptualization of sound tha proaches the concept of music associated with ritual, with the possible function of protecting or leading thi iried human being, but with the same timbre concept shared in the Mediterranean. Therefore, it is a fact tha is exchange between different Mediterranean communities was not only goods, but also cultural, religious anc ithropological practices.

Fig. 3. Map where the places quoted in the references can be seen. It is not an exhaustive index, but a visual map that labels the approximate locations where idiophones appear, the vast majority in funerary contexts. The map legends are: Gi (Giumlia and others 2010), Go (Goma 2018), Gu (Guarch 2017), Li (Li Castro 2018), Me (Mezquida 2017), Mi (Milan 2016), P & LI (Perello & Llull 2014, 2019); Sa (Sachs 1940). There are some places that appear in various studies, but here the main reference is mentioned. The bibliographic references of each study mentioned here provide the detailed account of places. Source: personal elaboration. nderlying all these objects linked to burials within the Mediterranean context, remains the sound édea producec y the bells and the tinkling. One should not think so much of the repertoire or «pieces» that could be performec it of the «sound idea» or «timbre concepdy that was obtained. In short, a symbolic conceptualization of sound tha proaches the concept of music associated with ritual, with the possible function of protecting or leading thi iried human being, but with the same timbre concept shared in the Mediterranean. Therefore, it is a fact tha is exchange between different Mediterranean communities was not only goods, but also cultural, religious anc ithropological practices.

Fig. 4. Baleria’s mosaic. Museu d’Historia de Manacor. Photo by Olaf Tausch!® The early Christian basilica of Son Pereto undoubtedly had a truly important weight as a religious community and population centre. Some elements display this importance, such as the splendid Baleria mosaic, with an unusual iconography of great visual strength. Canyelles and Mas (2009) already point out to the importance of this woman, probably a presbyter, to whom this splendid tomb was dedicated. It is necessary to note, here, that the vast majority of people could not read, but were able instead to understand the iconographic message in order to deduce the social or religious position of the buried person (figure 4). Its importance as a centre of worship can be deduced from the whole archaeological complex; and therefore, the certainty that the musical practices of the early Christian communities were well present.

Fig. 4. Baleria’s mosaic. Museu d’Historia de Manacor. Photo by Olaf Tausch!® The early Christian basilica of Son Pereto undoubtedly had a truly important weight as a religious community and population centre. Some elements display this importance, such as the splendid Baleria mosaic, with an unusual iconography of great visual strength. Canyelles and Mas (2009) already point out to the importance of this woman, probably a presbyter, to whom this splendid tomb was dedicated. It is necessary to note, here, that the vast majority of people could not read, but were able instead to understand the iconographic message in order to deduce the social or religious position of the buried person (figure 4). Its importance as a centre of worship can be deduced from the whole archaeological complex; and therefore, the certainty that the musical practices of the early Christian communities were well present.

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  37. Bàrbara Duran got degrees in Piano and Music Language at the Conservatori Superior de València.; Musicology (University of La Rioja), Master's Degree in Cultural Management (UOC / UdG / UIB) and Grade Recorders at the Trinity College of London (Exhibition Award 2003). Doctor of Art and Musicology at the Autonomous University of Barcelona, she is a member of the Ethnopoetic Studies Group (University of Balearic Islands / Institut d'Estudis Catalans) and plays in Polissonia, a Medieval-Renaissance music group. She has published several books and papers and has been awarded with the Alexandre Ballester 2018 prize for the essay "I saw John Lennon" and the City of Manacor 2019 Award for the publishing version of her thesis. She currently combines teaching with research and also plays recorders, organ and piano. Cita recomanada
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