Page 35 - Winter Issue 2018
P. 35

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Figure 4. Since 2008, the author has adapted a variety of acoustical measurement techniques in fieldwork at archaeological sites including
Chavln de Huantar, Peru (ccrmastanford.edu/groups/chavin), using hoth loudspeaker—reproduced and human-performed sound sources,
captured via multiple—microphone arrays and in—ear microphones. Photograph by Iosé L. Cruzado Coronel.
within the confines of interior architecture (Kolar, 2014; perirnents using aprecision loudspeaker anda spaced array
acousticstodaynorg/pututus). However, converging forms of of omnidirectional microphones through these ducts re-
archeological evidence points to the performance of of pu- vealed that they are near-perfect filters for frequencies inthe
tutus in and around the site’s Circular Plaza. Alongside this sounding—tone range of the Chavin pututus. The center duct
21-meter-diameter, semienclosed, countersunk plaza, the between the interior gallery and exterior plaza, which is vis-
Chavin pututus were excavated in 2001 as a group, depos- ih1Y aligned With the Carved mouth Of the Ltmzénl a granite
ited along the walls of a small room. The plaza’s decorated, 111011011111 1'1151°11Ca11Y 19P11ted 10 be 3-11 $13919” (E81119 5)»
relief-carved interior walls feature two known depictions further privileges pututu acoustics by emphasizing frequen-
of pututu performers (Figure 5), and several floor paving cies around 900 Hz (in the range of the instruments’ third
stones include fossil sea snails, the instruments’ ancient an- 113111101119) that 15 9-11 1111P°1”t3-111 1111113131 5181111151 (595 F15-5“1'°
cestors. In 2009, acoustical impulse-response measurements 73 K0131’ 91 31-» 2012)-
Wefe C0I1d1lCted in and 31011113. the partially intact Cifelllaf Whether or not one concurs with the archaeological in-
Plaza, Within the Lanlén Gallery. the interior Space to Which terpretation that suggests pututu performers could enact a
it acoustically couples by way of three ducts. Repeated ex- metaphorical “line of speech” by sounding the instruments
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   1   ” ~     .-.:=:-;:1   r H. 1*-‘*4’ 1. . ‘ by W L-CW1" C°*°"e’
.  :»1"l‘v‘l=‘ -  Tl? ‘" ‘l“-.33}-‘ 2t'.":~ '  ‘ * '~ ‘I I \". >‘ \ “ and Miriam Kolar.
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