ᛋᛃ ᛞ
MP 02 - Sowilo Jera Dagaz
The Sowilo rune (ᛊ) is associated with the sun, light, and energy, symboling the sun's power and vitality.
The Jera rune (ᛃ) representing the passage of time, and the cycle of nature .
The Dagaz rune (ᛞ) is the final rune in the Elder Futhark and represents day, dawn, and awakening. It is associated with the sun, clarity, hope, and new beginnings.
David R Abram's 'Aerial Atlas of Ancient Britain' a Welsh photographer and writer, based on the border of Somerset and Wiltshire, who creates images of prehistoric sites and their landscapes, shot from above (using drones). Painterly in tone and tending towards abstraction, my work explores notions of liminality, the sublime and sense of place. I also perform multi-media shows, weaving together spoken word with photographs of museum artefacts, fragments of folklore, biography and sometimes music and dance, to inspire new visions of the British landscape and the people who inhabited it in the distant past.
A spectacular collection of aerial photographs of Britain's most extraordinary prehistoric sites.
This breathtaking collection of aerial images reveals ancient monuments from all around the British Isles, as they have never been seen before: Neolithic enclosures, cairns and stone circles; Bronze Age villages, farmsteads, tombs and burial mounds; and Iron Age hillforts, all photographed in spectacular bird’s-eye-view detail.
Photographs taken directly above the sites, often at dawn, allow uniquely informative views, showing not only how ancient monuments fit into the surrounding landscape, but also how they define or respond to the area’s natural character. Stone cairns and circles evoke lost rituals and religious ceremonies; Iron Age ramparts hint at former strongholds; and tangible geographical clues reveal the scars of real or mythical battles. The oldest site in the collection was created nearly 6,000 years ago; the most recent originated shortly before the Roman invasion of Britain in AD 43.
These are solar sounds generated from 40 days of the Solar and Heliospheric Observatory’s (SOHO) Michelson Doppler Imager (MDI) data and processed by A. Kosovichev. The procedure he used for generating these sounds was the following. He started with doppler velocity data, averaged over the solar disk, so that only modes of low angular degree (l = 0, 1, 2) remained. Subsequent processing removed the spacecraft motion effects, instrument tuning, and some spurious points. Then Kosovichev filtered the data at about 3 mHz to select clean sound waves (and not supergranulation and instrumental noise). Finally, he interpolated over the missing data and scaled the data (speeded it up a factor 42,000 to bring it into the audible human-hearing range (kHz)).
These are solar sounds generated from 40 days of Michelson Doppler Imager data and processed by A. Kosovichev.
The procedure he used for generating these sounds was the following. He started with doppler velocity data, averaged over the solar disk, so that only modes of low angular degree (l = 0, 1, 2) remained. Subsequent processing removed the spacecraft motion effects, instrument tuning, and some spurious points. Then Kosovichev filtered the data at about 3 mHz to select clean sound waves (and not supergranulation and instrumental noise). Finally, he interpolated over the missing data and scaled the data (speeded it up a factor 42,000 to bring it into the audible human-hearing range (kHz)).
The Solar Oscillations Investigation (SOI) uses the Michelson Doppler Imager (MDI), one of twelve Solar and Heliospheric Observatory (SOHO) instruments. MDI has the highest spatial resolution of the three helioseismology instruments on SOHO. SOI/MDI probes the interior of the Sun by measuring the photospheric manifestations of solar oscillations. Characteristics of the acoustic wave modes reveal the static and dynamic properties of the solar convection zone and interior core. Knowledge of these properties will improve our understanding of the solar cycle and of stellar evolution. Other SOI/MDI photospheric observations will contribute to our knowledge of the solar magnetic field and surface motions.
On Saturday, 2 December 1995, the spacecraft was launched into a halo orbit around the Earth-Sun L1 Lagrange point. The MDI power was turned on the next day, and a week later, the image processor and other electronics were turned on. We received our first image back on 19 December 1995. The results on this page show some of our early images, highlights from recent papers and other results of more in-depth observational campaigns.
1997 MDI was a project of the Stanford-Lockheed Institute for Space Research. The MDI observation program was terminated on 12 April 2011.
Marco Boccitto
EMAP Communication Management
The European Music Archaeology Project (EMAP) is the first organic journey from the sounds of Prehistory through to traditions which still survive today, taking us from very early music to the present day composer and blending archaeology and art, science and creativity.
The European Music Archaeology Project (EMAP) ranked first out of the 80 projects entered for the EU’s most prestigious cultural competition in 2012, Strand 1.1 of Education, Audiovisual and Cultural Executive Agency (EACEA) . The project aims to highlight Europe’s ancient cultural roots from an unusual perspective: musical, scientific and “sensorial”. The starting point was music, because music has always been perceived as a primary need of any civilization worthy of the name. Music can sometimes reveal little known facts about ancient civilizations. It created a network of relationships and points of contact among European peoples long before we became aware of this common identity, before the Old Continent became known as such and the “history of music” began.
Condensing scientific research and artistic creativity; ancient knowledge and modern technologies; as well as music and archaeology the activities of EMAP span a period of five years, from 2013 to 2018, and see the collaboration of seven countries and ten European institutions, while its “Etruscan” control room is based in Tarquinia.
From the Upper Paleolithic period (ca 40,000 B.C.) to the Iron Age, from the great classical civilizations to the Middle Ages and beyond, we witness a “decantation” that often leads to the traditional music that is still present in various areas of the continent and the Mediterranean basin. It is a journey between archaeology and art (not exclusively music art), science and creativity.
One of the key events is a large exhibition with multimedia features that allows visitors to admire and fully experience the prodigious reality of the musical instruments and their amazing journey through time and space. Visitors have the opportunity to touch the instruments and actually hear the sounds they make, and see the “sound-evidence” of the crucial role played by music in ancient societies. The project is also producing workshops, conferences, concerts, books, CDs, DVDs, and educational materials. A documentary maps out a detailed timeline starting from the archaeological find, the accurate reconstruction of the instruments, and finally the performance that brings the ancient instruments back to life.
In order to do this, EMAP has recruited a team of archaeologists, musicologists, researchers, makers of musical instruments, composers, musicians, film-makers, sound designers and multimedia artists, and put them together with the scientific and organizational support of universities, museums, public bodies, music festivals, research centers, music archives and academies. The EU is funding 50% of the project budget of approximately 4 million Euros. The remaining 50% is funded by the ten institutions taking part in the project and by the proceeds from the various initiatives connected to the project.
EMAP travelled in time from the Upper Paleolithic period (ca 40,000 B.C.), the era some ancient findings date back to, to the great classical civilizations. Experts examined the survival and resilience of ancient music making, as witnessed in the traditional music that is still alive in Europe and in the Mediterranean basin. The main attractions of the project are some of the most fascinating musical devices ever created by man during different historical periods and the many interconnections they produced. We get acquainted with bone flutes, bullroarers, shells and other musical traces scattered all over Europe by Homo sapiens, and perhaps even by his Neanderthal predecessor.
We rediscovered the lyre and other chordophones, which were used in the central and northern areas of the European Continent, despite originating in the Mediterranean basin; and conversely, the metal horns that travelled from the Baltic region and the British Isles during the Bronze Age towards the South of France and Etruria. We discovered the majestic lituus found during excavations in Tarquinia, an instrument that the Etruscans shared with the Romans and the Celts; the carnyx, another spectacular bronze trumpet of Celtic origin with a zoomorphic bell-shape; and then double pipes (like the Greek aulos or the Roman tibiae), flutes, Pan-pipes, lithophones, rattles, sistra, gongs, cymbals, scrapers and many other percussion instruments.
The itinerary started from the analysis of iconographic evidence and archaeological finds, some of them fragmentary. It continued with the reconstruction of high quality instrument reproductions, capable of giving back the original voice of the instruments, so that we are now able to appreciate the sophisticated knowledge and skills needed to produce and play them. This part of the project finds its natural conclusion in performances, when the music is finally coming to life once more.
EMAP adopted innovative methods of investigation, reconstruction and “staging”, as well as technical and aesthetic solutions that combine scientific accuracy with artistic passion and a desire to share this knowledge. Augmented Reality, for instance, will be used to enable people to explore and virtually touch 3D replicas of the instruments, while in one of the islands of sound of the exhibition, the Soundgate, experts recreated the acoustics of the original environments in which the ancient instruments were played (a prehistoric cave, a megalithic monument like Stonehenge, or an ancient theater).
This is a stimulating and playful experience for everyone, that works on a number of different levels. The project will also produce publications, organise related activities and a section of the exhibition is set aside specially for children. EMAP aims to give an academic contribution to a field of study that until now has been scarcely investigated. At the same time it aims to be a highlight in the calendar of cultural events in the European cities involved in the project through its workshops, concerts, conferences and ARCHÆOMUSICA – The Sounds and Music of Ancient Europe , the exhibition organized by Regione Lazio that will open in Rome (October 11th, 2017 - Parco Regionale dell'Appia Antica - Ex Cartiera Latina ).
The magnificent Tintignac carnyx, discovered in southern France in 2004 and reconstructed specially for the current project.
Music technologist and composer Dr Rupert Till (University of Huddersfield) started to ponder the likely acoustic effects of Stonehenge after finding a pilot study on the subject. Mathematical acoustic analysis of Stonehenge’s Archaeological plans was followed by the acoustic analysis of a digital model of Stonehenge using software designed for architects’ use. The results of this analysis exceeded all expectations. The final stage of Stonehenge had acoustic figures that were as good as premier concert halls, and was perfectly suited to loud rhythmic music, much like a rock concert venue. This work led to a visit to a full size concrete reproduction of Stonehenge in the USA, with acoustics expert Dr. Bruno Fazenda and Dr. Till flying to the Maryhill Monument in Washington State to use it as a model to carry out acoustic field measurements and search for evidence of acoustic features.
This is the impulse response of the space, this is what the reverberation tail, (echoes and reflections) in the space, sounds like.
This an anechoic, dry recording of drums playing in time to the echoes and resonance in the space. The drum sounds are digital samples created by recording replicas of prehistoric drums. These replicas were made by archaeologist Dr. Simon Wyatt, based on TRB drums. The originals were found in Germany by archaeologists, but are of about the right period, and so could have been present.
This was a replica of a TRB Culture (c.5000 years old) ceramic drum, made by Dr. Simon Wyatt whose PhD involved the experimental making of replica prehistoric drums. The closest modern drum is probably a ceramic moroccan goblet drum. The one we used was about 18 inches tall.
Funnelbeaker culture - TRB or TBK ( German : Trichter(-rand-)becherkultur , Dutch : Trechterbekercultuur ; Danish : Tragtbægerkultur ; c. 4300–2800 BCE ), was an archaeological culture in north-central Europe . It developed as a technological merger of local neolithic and mesolithic techno-complexes between the lower Elbe and middle Vistula rivers.
The Funnelbeaker culture emerged in northern modern-day Germany c. 4100 BCE .
My PhD in Archaeology, at Edinburgh University, examined the objects interpreted as clay drums, from the Trichterbecher culture (TRB - 3300-2700 BC). During this time, I constructed models of the different drum styles in order to investigate the techniques of attaching a drum-skin.
I construct working models of wind instruments, and percussive objects from the Palaeolithic to the Iron Age and I am particularly interested in the experiential side of playing the instruments. As part of an MA in Museum Studies I explored the sensory role of music in the presentation museum objects and I have a keen interest in the cognitive role of music in ritual and the construction of identity.
The sound-making-devices of hunter-gatherers are largely made from perishable materials and part of my interest involves examining the different available organic resources, which may have been used for instrument construction. I am a proficient basket maker, having taught willow basket weaving to children and adults, and have produced fibre and cordage from different materials. I am also a keen potter, and have put my hand to silversmithing.
https://exarc.net/members/ind/simon-wyatt
Full physical access to the sites included on the first version of Dr Till’s app can be restricted. It is rare to be allowed to enter the centre of Stonehenge, for example. Therefore the app, installed on a portable device, can enrich an actual visit.
“What you see today at Stonehenge is a remnant of what used to be there, so it will be very interesting for visitors to have this app showing what it used to look like at different periods, from the beginning of its development through to its completion about 4,000 years ago,” said Dr Till.
App users will also have the choice of visualising the site at in daylight, dusk or after dark, with appropriate natural sounds.
Ancient musical instruments will also form part of the app’s sound bank. Dr Till’s recent activities have included the production of recordings for the European Musical Archaeology Project. They have included an acclaimed disc of Viking age music and the sounds made by ancient bone flutes.
The app has been conceived, developed and produced in-house at the University of Huddersfield, with the expertise of its Computer Games department being crucial to the digital modelling, based on the acoustic data provided by Dr Till.
The app is the culmination of some six years’ research by Dr Till, who has been in receipt of major funding from EU sources and from the UK’s Arts and Humanities and Engineering and Physical Science Research Councils.
More information can be found on the project website at: https://songsofthecaves.wordpress.com/multimedia/soundgate-app/
EMAP CDs can be found at http://delphianrecords.co.uk/product-group/the-edge-of-time-palaeolithic-bone-flutes-from-france-germany-emap-vol-4/
You can download the free app at:
PC & Mac: http://eprints.hud.ac.uk/31721/
Mac via App Store: https://itunes.apple.com/gb/app/emap-soundgate/id1207880655?mt=12
Android App: https://play.google.com/store/apps/details?id=com.UoH.EMAPMusicProject&hl=en
iPhone and iPad (iOS) apps on iTunes: https://itunes.apple.com/gb/app/emap-soundgate/id1207687938?mt=8
12 Funded PhD Opportunities in Sound, Music or Multimedia Archaeology
December 11, 2015 in Uncategorized | by Professor Chill | 3 comments
The University of Huddersfield is part of a consortium currently advertising 12 funded PhD places for subjects related to Heritage Studies. This will pay tuition fees plus about £14,000 per year in living expenses (stipend). Applicants should have been living in the UK for the last 3 years, and should be UK or EU citizens. Eligibility is complex, and addressed on the application pages. Applicants should have an MA or have a good undergraduate degree along with relevant professional experience. These are competitive opportunities, and the awards will go to the best quality candidates and research applications, across a range of fields.
I am interested in particular in encouraging applications related to sound archaeology and multimedia archaeology. For example you may be interested in the following projects:
Sound/Music Archaeology PhD:
PhD project proposals are invited in the areas of sound archaeology, music archaeology, archaeoacoustics or related fields. This might involve an examination of the acoustics or acoustic ecology of an archaeological site or sites. It could involve study of musical instruments, composition for ancient musical instruments, the study of ancient music or any related subject. Another area of interest is the integration of audio into multimedia modelling of heritage sites. Research can integrate practice-based or practice-led elements as well as theoretical and contextual study. Students may wish to have co-supervision from a member of archaeological staff as well as an expert in sound archaeology. Students may have a background in acoustics, music technology, audio, composition or archaeology, although other fields are not excluded.
Multimedia Archaeology PhD:
PhD project proposals are invited to explore the use of multimedia tools to explore archaeological sites, particularly including exploration and modelling of sound as well as image. This could be a creative arts project, creating multimedia artworks, installations, or interactive environments that explore archaeological or heritage contexts. Models of world heritage sites, including Stonehenge, Palaeolithic decorated caves, and Cyprus’ Paphos theatre, as well as of other significant archaeological sites, are available as a starting point for the project. This may explore development of these models into edutainment/serious games. It may involve exploring the use of such modelling in heritage contexts. It could explore the modelling of specific spaces, or the use of online or interactive environments, including apps. Unreal or Unity game engines can be used. A focus could be specifically on audio elements of such research. Students with backgrounds in game design, programming, multimedia art, archaeology, music technology or related subjects are welcome. Support for multimedia, sound or archaeological elements is available, and a range of supervision support in different departments is available.
There may well be opportunities to be involved in the European Music Archaeology Project, a 5 year EU funded research project (www.emaproject.eu). The University of Huddersfield is a co-organizing partner in this project.
The advert is here:
http://www.heritageconsortium.ac.uk/2015/12/09/2016-ahrc-studentship-competition-up-to-12-phd-studentships-in-heritage-studies/
There is a frequently asked questions (FAQ) page here:
http://www.heritageconsortium.ac.uk/apply/frequently-asked-questions-faqs/
Details of how to apply are here:
http://www.heritageconsortium.ac.uk/apply/
I am happy to help with developing applications, please contact me at r.till@hud.ac.uk. Please mention my name in your application, and let me know if you are applying.
Papers Available Online
November 3, 2015 in Uncategorized | Tags: archaeoacoustics, music archaeology, sound archaeology, Stonehenge | by Professor Chill | Leave a comment
2 papers on the acoustics of Stonehenge are available on this website:
https://hud.academia.edu/RupertTill
Also further papers on Sound Archaeology and Archaeoacoustics are available.
Fully Funded PhDs in Music Archaeology and Archaeoacoustics at the University of Huddersfield
August 10, 2015 in Uncategorized | by Professor Chill | Leave a comment
We are advertising 6 fully funded PhDs in our University (fees + living expenses). Stipend should be at least the RCUK rat e ( £14,057 – uk pounds – per year) or more, and tuition fees will be paid.
There are a number of possible areas of supervision, but I would be particularly interested to supervise students interested in archaeoacoustics and music archaeology.
All subjects may involve creative work or practice based research. Final submissions could range from a portfolio of original creations to a written thesis, or a combination of the two. There would be the opportunity to be involved in European Music Archaeology Project (http://www.emaproject.eu) activities.
Current activities in this area in our department include recordings of ancient instruments (bone flutes, carnyx, aulos etc.); digital modelling of archaeological environments; and acoustic modelling, analysis and testing of archaeological sites.
Please feel free to email me if you want to discuss details of applications. Please mention my name in your application. Please circulate this and post it to any sites or individuals you think may be interested.
The application deadline is 10 September 2015.
email Rupert Till at R.Till@hud.ac.uk for more information
Apply at: http://www.necah.ac.uk/2015/08/07/north-of-england-consortium-for-arts-and-humanities-3-fully-funded-phd-studentships/
Visual Interactive and Sound Technology in Archaeology
May 13, 2015 in Uncategorized | by Professor Chill | Leave a comment
VISTA
V isual I nteractive and S ound T echnology in A rchaeology
One Day Symposium
Sir George Buckley Lecture Theatre, CSLG01, University of Huddersfield, Huddersfield, West Yorkshire, UK, HD1 3DH.
Tuesday 16th June 2015, 10am – 5pm
This symposium collects together researchers working in digital modelling and reconstruction, app development, acoustic modelling, interactive design, audio-visual applications, and multimedia, and their relationships to archaeology, heritage science, cultural industries and museums.
European Music Archaeology Project and British Audio-Visual Research Network
Free tickets at http://tinyurl.com/ovcc7db
https://www.facebook.com/pages/EMAProject/236176096591669
https://twitter.com/RupertTill/status/598416708655788033
Programme:
The increasing impact of digital survey across Historic England & English Heritage
Paul Bryan, Geospatial Imaging Manager, Historic England; Joe Savage, Interpretation Officer, English Heritage
This presentation will highlight the increasing impact of digital survey technologies and methodologies across the work of Historic England and English Heritage. Alongside a summary of the technologies employed their variety of application will be highlighted through a number of case studies including the use of laser scan data at Stonehenge, Harmondsworth Barn and West Kennet Long Barrow and current work at Tintagel Castle using drone-acquired imagery and Structure-from-Motion (SfM) photogrammetry. As will be shown such digital survey work has multiple archaeological, conservation and presentational applications including interpretation and analysis, interactive app development and within exhibition displays.
Professional Commercial Archaeological Digital Visualization
Marcus Abbott, York Archaeological Trust
Marcus Abbott presents an insider’s view of the world of professional commercial archaeological modelling. He discusses and illustrates recent work by York Archaeological Trust.
Acoustic and Interactive Modelling in the European Music Archaeology Project
Rupert Till, Casto Vocal, University of Huddersfield
This presentation discusses the Soundgate, a 180 degree projection screen using 4 widescreen HD projectors to create an immersive visitor experience for the EMAP travelling exhibition. Footage will be filmed live at archaeological sites with digital cameras, as well further live film using anamorphic and fisheye lenses and a 4k Red camera to generate a form of digital cinerama. Digital modelling will also be used to generate cinematic reconstructions in the same format. Acoustic modelling, sound archaeology, archaeoacoustics and music archaeology will be used to create a soundtrack focused on reconstructions of ancient musical instruments being played in their original historic acoustic contexts. Digital film with soundtrack, interactive online, PC, tablet and smartphone versions will all be created.
Visualisation and Auralization: exploring digital lived experience in late medieval buildings.
Catriona Cooper
, Archaeological Computing Research Group, University of Southampton
Digital techniques in archaeological computing can offer new routes to approaching human experience. Catriona Cooper presents two case studies that demonstrate alternative and complementary techniques to explore the notion and implementation of a digital “lived experience” of late medieval buildings. A study based at Bodiam Castle uses digital visualisation to explore the lived experience of the private apartments. A second case study presents an assessment of a series of auralizations of Ightham Mote comparing recorded and modelled acoustical parameters with reference to both human responses and numerical parameters, concluding in combining the two approaches.
Intersensorality, Indeterminacy, Experimental Sound Design and Archaeological interpretation
Claire Marshall, Plateau Imprints
A focus on the VR reconstruction of the Ribchester Roman Fort in Lancashire. This will be amongst the first full 4D and multi-sensorial interpretations of a site in the UK, which foregrounds the intersensoriality and indeterminacy of ‘material culture,’ in general, and public heritage interpretation and experience, in particular.
Use of Oculus Rift for VR-Auralisation
Alex Southern, Royal Society Industry Research Fellow, University of York
This is part of an ongoing project that makes use of Oculus Rift virtual reality technology to deliver immersive, interactive, 3D audio-visual experiences of a theatrical performance venue. Software has been developed to integrate the Oculus Rift (for 3D visualisation) and MAX/MSP (for 3D headphone auralisation) to view recorded performances, and users are able to interactively select their preferred seating location. The user is also able to freely move their head and look around the venue adding to the sense of immersion and resulting in a multi-modal experience.
Lost and Found Sound in the Vale of Pickering: Exploring the sonic properties of a Early Holocene landscape through sound art
Ben Elliott, Department of Archaeology, Jon Hughes, Department of Music, University of York
The Sonic Horizons of the Mesolithic sought to apply new developments in contemporary landscape-based sound art composition to the palaeoenvironmental and archaeological data available for the landscape around Star Carr. Resulting in a series of ambisonic sound installation events across Yorkshire during the summer of 2013, this project explicitly explored the sonic environment within a context that defies traditional archaeocoustic approaches through its lack of archaeologically definable internal spaces. A landscape approach here was key, and this paper will reflect on the implications that this may hold for future considerations of sound in the deep past.
Stonehenge solstice on the Sky at Night
July 10, 2013 in Uncategorized | by Professor Chill | 2 comments
Rupert Till’s research on the acoustics of Stonehenge continues to be used by other researchers and media channels. Most recently Dr. Till was interviewed by the BBC television programme the sky at night as they presented the show from Stonehenge on the summer solstice. As well as discussing sound at the sight, the programme made extensive use of digital models of Stonehenge generated as a byproduct of his research. Working with staff from art and design, computing and engineering, and most recently with researcher John Fillwalk at Ball University in the US he has created increasingly accurate digital models of the site in order to do more accurate acoustic modelling. Dr. Fillwalk’s model aims to allow the sun and moon positions to be accurately modelled.
As well as being used by the sky at night, This research has been used by the History Channel, BBC radio 4, the New Scientist, the iPad/iPhone app ‘Stonehenge Experience’, and it has featured on Apple’s recent worldwide advertising campaign.
The sky at night can be seen at 7.30pm on bbc 4 on Thursday 11 July.
Clips featuring dr. Till and his work can be seen at:
http://www.bbc.co.uk/programmes/p01ccpsp
http://www.bbc.co.uk/programmes/p01ccn5f
Dr. Till is currently planning a research trip to northern Spain to explore the relationships between cave paintings and acoustics, with paintings that are up to 40,000 years old. He as also just started work on the European music archaeology project, an EU culture programme funded 5 year project.
European Music Archaeology Project (EMAP)
June 6, 2013 in Uncategorized | by Professor Chill | Leave a comment
Rupert Till is part of the European Music Archaeology Project (EMAP) – a project that has just been funded through the EU Culture Programme. It is a five-year project with an €2m budget, involving 8 partners from different EU countries. EMAP will develop a multimedia touring exhibition and accompanying programme of workshops and performances which will visit ten venues in eight countries between May 2015 and November 2016.
The exhibition covers the origins and evolution of European music from Prehistory to exisiting music traditions. The programme will create reconstructions and working models of ancient instruments, computer models of selected archaeological sites, their acoustics and soundscapes, outreach media such as books, CDs and videos, workshops and performances and a multimedia exhibition.
Rupert will set up a music archaeology record label and record either Greek instruments in a temple, Roman instruments at Pompeii’s Theatre or prehistoric instruments in chamber tombs. He will organise concerts featuring musicians from across Europe who are leading experts in the construction and playing of these instruments.
The project will finish in 2018; however, a Trust will be set up to continue the work of the project in the future.
ARCHAEOACOUSTICS: The Archaeology of Sound Conference CFP
June 6, 2013 in Uncategorized | by Professor Chill | Leave a comment
CALL FOR PAPERS
Conference 19-22 February 2014 in MALTA
ARCHAEOACOUSTICS: The Archaeology of Sound
a multidisciplinary look at early sonic/aural awareness and lithic sound behavior, toward a better understanding of human and music development.
Archaeology has often been focused on the visual and on physical objects, although the past was of course not silent. Since many cultures explored through archaeology were focused on the oral and therefore the aural, it is becoming increasingly recognized that studying the sonic nature of parts of archaeology can enhance our understanding.
The intent of this conference is to explore the importance of sound in antiquity, sharing focused expertise from a variety of backgrounds in order to provide a forum for expanding previous conceptions and introducing new methodologies. We are particularly interested in the role acoustic behavior may have had in the development and design of important architecture and ritual spaces throughout the ancient world.
All presentations will be in English. Performance proposals will also be considered.
Submission of abstracts for a 20-minute presentation and proposals for posters/demos on any topic related to the theme will be open until 01 September 2013. Abstracts should be 300 words or less plus title and author details. Authors of papers accepted for presentation by the academic committee will be notified by 15 September 2013. Final papers are required by 15 January 2014.
Submissions should be made to: Conference2014@OTSF.org
Organized by The University of Malta and The OTS Foundation
Conference website: http://www.OTSF.org/Conference2014.htm
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3D Stonehenge Tour Aaron Watson Acoustics and Music of British Prehistory Bruno Fazenda I Hear Too Podcast Maryhill Stonehenge National Geographic Site R Till Myspace R. Till University Page Stonehenge Interactive Map Stonehenge Official Site Stonehenge Panoramic Viewer Stonehenge Riverside Project Yorkshire Post Inverview
https://soundsofstonehenge.wordpress.com/sound-examples/
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