Page 36 - Winter Issue 2018
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Archaaaacaustics
‘I. ‘if’: V 1 
 ' 5 “ ‘w 
_______..——-""'"” fl_ V ,  A‘
*"""“—— p -_ '. — ll; Figure 6. Architectural re-
" '_‘ . — " ’ ., construction of Chav1'n’s
*\ Q‘ Lanzon Gallery and Circular
‘ 2 \\ 7 ' " ~  Plaza (left) and the 4.5—me—
‘ /    ter granite monolith known
\ _.; 1 , as “the Lanzon” (right). Il-
fx 3 ‘ lustration and photograph
fig‘-‘l ‘. by Jose’ L. Cruzado Coronel.
between the Lanzon monolith and the Circular Plaza (see with the abstract, conceptual, structural, and performed as-
Figure 6; Kolar et al., 2012), repeated measurements have pects of music (its “culture”) rather than sound (its “phys-
demonstrated that these ducts acoustically favor pututu ics”), which has historically been the domain of musical
sound and perceptibly filter out higher frequencies crucial acoustics. However, in archaeological practice, such culture-
to speech clarity, for example. Pututus would have been use- communication dichotomies are dissolving, and much as
ful in transmitting sonic information between the access-re- historical musicologists increasingly consider the acoustics
stricted Lanzon Gallery, where the Lanzon “oracle” monolith of instruments and performance spaces, music archaeolo-
(Figure 6, right) is located, and the larger public gathering gists have begun to incorporate acoustical concerns.
area outside’ the Chehlar Plaza (Figure 6’ left)‘ Whether or Two recent studies led by scholars of art and architecture of-
hot the Pututus would have been eohsidered the Voiee of the fer notable incorporations of archaeological acoustics, the
oraele is ah interpretative matter‘ From a Physical dyhamieal Renaissance religious architectural study of Howard and
perspective, we can assert that pututu sound transmission Moretti (2009) and the mulfisensory exploration of Hagia
is facilitated architecturally between these spaces. In this Sophia in Byzantium by art historian Bissera Pentcheva
research example, archaeoacoustics strengthens material ar- (2010) pp. 4556; demonstrated in this video available at
chaeological associations by demonstrating dynamical con- acousticstoday_m.g/hagiawphia). Howard and Morelfis
text for the Chavin pututus within the ceremonial locus of (2009) Study included the reconstruction of musical perfop
Chavin’s Circular Plaza. Architectural acoustical evidence, mance practice in a dozen churches of Renaissance Venice)
data from my team’s acoustical study of the site-excavated accompanied by audience Surveys regarding perception of
Pututus (Cook et al" 2010)’ and other arehaeologieal ihf°r' architectural acoustical attributes that were measured and
mahoh together Support arehaeologieal arguments f°r1°ea' modeled. Pentcheva’s (2010) research considered the meta-
fi°h'SPeeihe pututu Perfonhahee at Chavhh phorical value of sound in combination with light, human
Archaeoacousfl-cs andMusicArchae010gy movement, and other elements of early Christian ritual in
Likely due to the custom of identifying Sound_pmducing Constantinople. Historical musicologists and the choir Ca-
instruments with music and an established Scholarly path pella Romana worked with Pentcheva and Stanford musical
for musicological Studies) the field of music archaeology acoustics colleagues to reconstruct period music as if per-
precedes archaeoacoustics. Despite substantial attention formed within the 11'5ee°hd reverberaht Setting of Hagia
to the acoustics of well-preserved amphitheaters, an area Sophia (heard oh the Video above)"
of archaeoacoustics dominated by architectural acoustical For archaeological contexts including sound-producing in-
modeling research, European classical archaeology has em- struments, it is difficult to avoid experimental and experien-
phasized musical concerns identified from texts and visual tial engagements of archaeological materials. Making sound
representations. Archaeological materials readily identified in places seems to have been a conscious human activity
as “musical” are typically studied by music archaeologists, throughout time, as, for example, Morley (2003), Blake and
who employ musicological tools and methods concerned Cross (2015), and Tomlinson (2015) among others have de-
34 | Acuuseics Thday | Winter 2018





















































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