Page 37 - Winter Issue 2018
P. 37

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Irequency - Hz
Figure 7. Magnitude frequency measured at the exterior openings of the three ducts connecting Chavins Lanzon Gallery with its Circular
Plaza via the repeated sinusoidal-sweep impulse—re5panse method. The sounding-tone range (H1) and articulation peak (H3) of site—exca-
vated conch shell horns (pututus) are privileged by duct acoustics. Adapted from a diagram by Miriam Kolar and Ionathan S. Abel (Kolar et
al., 2012, Figure 13).
tailed. Indeed, sonic engagements with archaeological sites, tions on replicas of ancient instruments, such as Flury’s se-
whether or not musicological in purpose, have frequently ries of Chavin-inspired performances with modern pututus
stemmed from reconstructive soundings (often hand claps, that were featured in a local concert in that Andean town,
footsteps, or whistles) as, for example, archaeoacoustics followed by music for an international exhibition by the
pioneers Paul Devereux (2001), Iegor Reznikoff (2006), Museum Rietberg in Zurich, Switzerland, and continuing
Wayne Van Kirk, David Lubman, and rock art specialist Ste- in current work (Flury’s Klanginstallation Chavfn available
ven Waller have recounted in professional venues and in the at vimeo.com/245501948). Beyond performance practice,
popular press, among work by others too numerous to list music archaeologists are increasingly incorporating acousti-
here. Acoustics Today previously featured the work of Ielle cal concerns and methods to characterize and contextual-
Atema (2014), Professor Emeritus of Biology, Boston Univer- ize musical materials, especially for artifact instruments of
sity, and Adjunct Scientist, Woods Hole Oceanographic Insti- sound production that can be played or convincingly recon-
tution, MA, a flutist who studied with renowned performer structed (Both, 2009).
]ean—Pierre.Rampal. Atema has innovated the experimental Mappmg the Potenfialfor sonic Communication
reconstruction, performance, and organological exploration Fouowin th I ms of 0 nd S n apuniv rsal me S
_ , _ g e p e e s u a a e e an
of flute technology’ ofli-enng a comprehensive’ Physlcsbased for human communication archaeoacoustics is fre uentl
. . . . > Cl Y
Perspectlve on anclem music making" concerned with establishing the plausibility of what can be
Although cross-disciplinary expertise is a hallmark of indi- heard and from where, dependent not only on acoustical sci-
vidual archaeoacousticians, collaborations across multiple ence but also information from site archaeology. Archaeo-
fields drive unprecedented explorations of ancient sonics, logical context includes considerations about who would
which often result in formal musical performances for au- be hearing what sonic material, under what environmental
diences. In 1992, musical acoustician Murray Campbell, conditions, and in what social or political settings. Archaeo-
musicologist Iohn Purser, archaeologist Fraser Hunter, sil- acoustical studies frequently seek to test interpretative or
versmith Iohn Creed, and musician Iohn Kenny began a historical claims as well as provide experimental evidence
multidisciplinary archaeomusicological reconstruction of for sonic dynamics not reported or considered by others. For
the carnyx, a Celtic brass instrument based on fragments comparison and contrast with my initial discussion of the
excavated in northeastern Scotland (Campbell and Kenny, Chavin pututu echo study and to show how archaeoacousti-
2012; acousticstodayorg/carnyx). Their collaboration has cal tools and methods can be adapted across archaeological
produced numerous archaeological engagements, includ- contexts, I offer an example of an outdoor archaeoacousti—
ing concert presentations of the carnyx in venues such as the cal survey that also employed a Strombus pututu as one of
2018 Experimental Music Archaeology Symposium at the several sound sources. To produce empirical data on site-
State Archaeology Museum in Brandenburg, Germany. Mu- specific sound transmission as well as test claims from many
sicians such as Swiss trombonist Michel Flury have explored archaeological and historical accounts regarding the role of
archaeological contexts to develop new musical interpreta- sound and architecture in Inca governance, archaeologist
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