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present in ritual. Recent studies have also demonstrated that many rock art sites around the world are indeed located in places with special acoustics. In short, the literature pertaining to the new field of archaeoacoustics strongly suggests that rock art landscapes were not perceived as “dead silent” by their creators. What about ancient Californian soundscapes? Is there any possibility that rock art and ideas on sound and/or music were related in this specific region? This paper is the result of a research that is being undertaken in the Artsoundscapes ERC project and it aims to provide new perspectives on the understanding of the Californian past through a multidisciplinary perspective. The study of sources from missionaries and more recent ethnographers will allow us to inquire into the place given to sound and/or music in ancient Californian societies, especially in a ceremonial context. Also, we will establish a list of pre-Hispanic musical instruments from sources such as chronicles and archaeological reports and collections. Finally, we will reflect on the similarities and differences in the field of ancient soundscape studies between both California whose border is a recent invention in spite of their prehistoric cultural similarities.

Figure 8 present in ritual. Recent studies have also demonstrated that many rock art sites around the world are indeed located in places with special acoustics. In short, the literature pertaining to the new field of archaeoacoustics strongly suggests that rock art landscapes were not perceived as “dead silent” by their creators. What about ancient Californian soundscapes? Is there any possibility that rock art and ideas on sound and/or music were related in this specific region? This paper is the result of a research that is being undertaken in the Artsoundscapes ERC project and it aims to provide new perspectives on the understanding of the Californian past through a multidisciplinary perspective. The study of sources from missionaries and more recent ethnographers will allow us to inquire into the place given to sound and/or music in ancient Californian societies, especially in a ceremonial context. Also, we will establish a list of pre-Hispanic musical instruments from sources such as chronicles and archaeological reports and collections. Finally, we will reflect on the similarities and differences in the field of ancient soundscape studies between both California whose border is a recent invention in spite of their prehistoric cultural similarities.

Related Figures (8)

From Landscape Archaeology to Soundscape Archaeology:
From Landscape Archaeology to Soundscape Archaeology:
1. COMPARATIVE ARCHAEOACOUSTIC STUDY OF PREHISTORIC ROCK PAINTINGS IN FINLAND Riitta Rainio and Kai Lassfolk, University of Helsinki Corresponding author's e-mail: riitta.rainio@ helsinki.fi
1. COMPARATIVE ARCHAEOACOUSTIC STUDY OF PREHISTORIC ROCK PAINTINGS IN FINLAND Riitta Rainio and Kai Lassfolk, University of Helsinki Corresponding author's e-mail: riitta.rainio@ helsinki.fi
relationship between buildings, spaces and social interactions. This proposal aims to explore the reasons that led ancient cultures to create these spaces, as well as reconstruct how they experienced them by analysing both the physical acoustics and the way these acoustics shape what people perceive.
relationship between buildings, spaces and social interactions. This proposal aims to explore the reasons that led ancient cultures to create these spaces, as well as reconstruct how they experienced them by analysing both the physical acoustics and the way these acoustics shape what people perceive.
Ever since Aristotle, Western societies have considered sight the primary sense. Vision has not only served as the basis of empirical science and the Enlightenment but has also dominated the study of cultural phenomena. In recent decades, this trend has shifted; today sociologists, anthropologists, psychologists and classicists are now aware that societies think differently and that sound is an important aspect of cultural experiences. The lost dimension of sound in ancient societies has been addressed through the reconstruction of ancient instruments, while new multisensory approaches to ancient ritual take into account space in which music and sound may have played a particularly important role. Aligning with recent research on ancient sound, this paper aims to bring to the forefront the importance of sound in ancient Greek cultic practices. The first part of this paper draws on epigraphic, literary and archaeological data to demonstrate the importance of sound in ancient cultic practice through several case studies. It examines the importance of sound at sites of cult practices in Dodona in Epirus (where a prophetic oak tree that answered agonizing questions by rustling its leaves, and priests made prophecies by de-coding the sounds of bronze cauldrons and the cooing of pigeons) and on Delos (where the mingling of many dialects and different languages constituted a form of homage to Apollo). The importance of sound within cultic space is also relevant to recent studies on caves. The second part of the paper relies on new approaches in sensorial studies to reconsider three ancient sites, the layouts of which seem to indicate a possible use of acoustic devises to enhance the cultic experience: the open-air rock sanctuary at Strophilas (Andros), the dark winding stairwells (so-called labyrinths) in the temple of Apollo at Didyma, and the underground corridor beneath the temple of Apollo. an Clarnc
Ever since Aristotle, Western societies have considered sight the primary sense. Vision has not only served as the basis of empirical science and the Enlightenment but has also dominated the study of cultural phenomena. In recent decades, this trend has shifted; today sociologists, anthropologists, psychologists and classicists are now aware that societies think differently and that sound is an important aspect of cultural experiences. The lost dimension of sound in ancient societies has been addressed through the reconstruction of ancient instruments, while new multisensory approaches to ancient ritual take into account space in which music and sound may have played a particularly important role. Aligning with recent research on ancient sound, this paper aims to bring to the forefront the importance of sound in ancient Greek cultic practices. The first part of this paper draws on epigraphic, literary and archaeological data to demonstrate the importance of sound in ancient cultic practice through several case studies. It examines the importance of sound at sites of cult practices in Dodona in Epirus (where a prophetic oak tree that answered agonizing questions by rustling its leaves, and priests made prophecies by de-coding the sounds of bronze cauldrons and the cooing of pigeons) and on Delos (where the mingling of many dialects and different languages constituted a form of homage to Apollo). The importance of sound within cultic space is also relevant to recent studies on caves. The second part of the paper relies on new approaches in sensorial studies to reconsider three ancient sites, the layouts of which seem to indicate a possible use of acoustic devises to enhance the cultic experience: the open-air rock sanctuary at Strophilas (Andros), the dark winding stairwells (so-called labyrinths) in the temple of Apollo at Didyma, and the underground corridor beneath the temple of Apollo. an Clarnc
spaces (streets or sanctuaries) or also indoors (odeia). The sounds of auloi, kitharai, and salpinges dominated; lyre, krotala, tympanon and other instruments were also used. The sounds of music, dance (e.g. pyrrhic or ecstatic), songs, recitation and other performances composed a charming, unique soundscape in Athens during the festivities.
spaces (streets or sanctuaries) or also indoors (odeia). The sounds of auloi, kitharai, and salpinges dominated; lyre, krotala, tympanon and other instruments were also used. The sounds of music, dance (e.g. pyrrhic or ecstatic), songs, recitation and other performances composed a charming, unique soundscape in Athens during the festivities.
8. THE SOUND OF STONES. A STUDY IN A TEMPLE IN THE ARGENTINE ANDES Jose Nicolas Balbi, Colchester Archaeological Group (UK) and Ministerio de Cultura y Educacion, Buenos Aires (Argentina), Eduardo Miguel Buffalino, JSFD Instituto Superior de Formacién Docente. Corresponding author's e-mail: nicolasbalbi @ outlook.com.ar
8. THE SOUND OF STONES. A STUDY IN A TEMPLE IN THE ARGENTINE ANDES Jose Nicolas Balbi, Colchester Archaeological Group (UK) and Ministerio de Cultura y Educacion, Buenos Aires (Argentina), Eduardo Miguel Buffalino, JSFD Instituto Superior de Formacién Docente. Corresponding author's e-mail: nicolasbalbi @ outlook.com.ar
11. RINGING ROCKS AND SINGING SAND DUNES: A SURVEY OF INTERCONNECTED SONIC LANDSCAPES IN NORTH AMERICA’S GREAT BASIN
11. RINGING ROCKS AND SINGING SAND DUNES: A SURVEY OF INTERCONNECTED SONIC LANDSCAPES IN NORTH AMERICA’S GREAT BASIN
Related topics:
EthnohistoryLandscape EcologyArchaeologyDigital HumanitiesLandscape ArchaeologyRock Art (Archaeology)Soundscape StudiesMedieval ArchaeologyAncient Greek ReligionDigital Heritage
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