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Day, J. (Ed.). (2013). Making Senses of the Past: Toward a Sensory Archaeol- ogy. Occasional Paper No. 40, Center for Archaeological Investigations, Southern Illinois University Press, Carbondale.
Devereux, P. (2001). Stone Age Soundtracks: The Acoustic Archaeology of An- cient Sites. Sterling Publishing Company, Inc., London. (Companion [book] to channel four’s Secrets of the Dead: Sounds from the Stone Age TV program.)
Farina, A. (2007). Advancements in Impulse Response Measurements by Sine Sweeps. Presented at the 122nd Convention of the Audio Engineering Soci- ety, Vienna, Austria, May 5-8, 2007. Available at https://www.researchgate. net/publication/228670187. Accessed August 12, 2018.
Hamilakis, Y. (2013). Archaeology and the Senses: Human Experience, Memory, and Affect. Cambridge University Press, New York.
Howard, D., and Moretti, L. (2009). Sound and Space in Renaissance Venice: Architecture, Music, Acoustics. Yale University Press, New Haven, CT.
Kolar, M. A. (2013). Archaeological Psychoacoustics at Chavín de Huántar, Perú. PhD Dissertation, Stanford University, Stanford, CA.
Kolar, M. A. (2014). Pututus, resonance and beats: Acoustic wave interfer- ence effects at Ancient Chavín de Huántar, Perú. The Journal of the Acous- tical Society of America, 136, 2270. Lay language version with media examples available at https://ccrma.stanford. edu/groups/chavin/ASA2014.html.
Kolar, M. A. (2017). Sensing sonically at Andean Formative Chavín de Huántar, Perú. Time and Mind: The Journal of Archaeology, Con- sciousness and Culture 10(1), 39-59. 6X.2016.1272257.
Kolar, M. A., Covey, R. A., and Cruzado Coronel, J. L. (2018). The Huánuco Pampa acoustical field survey: An efficient, comparative archaeoacoustical method for studying sonic communication dynamics. Heritage Science 6, 39.
Kolar, M. A., Rick, J. W., Cook, P. R., and Abel, J. S. (2012). Ancient pututus contextualized: Integrative archaeoacoustics at Chavín de Huántar, Perú. In Stöckli, M., and Both, A. (Eds.), Flower World: Music Archaeology of the Americas, Ekho Verlag, Berlin, vol. 1., pp. 23-54.
Lubman, D. (2016). Plumed Serpent Sound Effect at Chichén Itzá’s Temple of the Warriors: Original Feature or Artifact of Reconstruction? Presented at the 23rd International Congress on Sound and Vibration (ICSV23), Ath- ens (Greece), July 10-14, 2016. Available at publication/306315529. Accessed August 12, 2018.
Lubman, D., and Wetherill, E. A. (Eds.). (1985). Acoustics of Worship Spaces. American Institute of Physics for the Acoustical Society of America, Mel- ville, NY.
Morley, I. (2003). The Evolutionary Origins and Archaeology of Music. PhD Dissertation, Darwin College, Cambridge University, Cambridge, UK.
Pentcheva, B. (2010). The Sensual Icon. The Pennsylvania State University Press, University Park.
Renfrew, C., Frith, C., and Malafouris, L. (Eds.). (2009). The Sapient Mind: Archaeology Meets Neuroscience. Oxford University Press, New York.
Reznikoff, I. (2006). The evidence of the use of sound resonance from Pa- leolithic to medieval times. In Scarre, C., and Lawson, G. (Eds.), Archaeo- acoustics. McDonald Institute for Archaeological Research, Oxbow Books, Oxford, UK, pp. 77-84.
Scarre, C., and Lawson, G. (2006). Archaeoacoustics. McDonald Institute for Archaeological Research. Oxbow Books, Oxford, UK.
Shanks, M. (1992). Experiencing the Past: On the Character of Archaeology. Routledge, London.
Tomlinson, G. (2015). A Million Years of Music: The Emergence of Human Modernity. Zone Books, Brooklyn, NY.
Trigger, B. (2006). A History of Archaeological Thought, 2nd ed. Cambridge University Press, New York.
Wiley, A. (2002). Thinking from Things: Essays in the Philosophy of Archaeol- ogy. University of California Press, Berkeley.
Miriam Kolar’s cultural acoustics re- search leverages acoustics and psycho- acoustics to study sound in cultural contexts. Since 2008, she has led archaeo- acoustics research at the UNESCO World Heritage site Chavín de Huántar, Perú, where her methodological inno-
vations include on-site auditory localization experiments to evaluate experiential implications of archaeological ar- chitectural acoustics. Recently a Weatherhead Fellow at the School for Advanced Research (SAR), Santa Fe, NM, Kolar received her PhD as a Stanford Interdisciplinary Graduate Fellow at the Center for Computer Research in Music and Acoustics (CCRMA), Stanford University, Stanford, CA. Prior to her doctoral study, Kolar engineered concert sound design and location recordings, and directed the CalArts under-graduate music technology program.
    Women in Acoustics
The ASA's Women in Acoustics Committee was created in 1995 to address the need to foster a supportive atmosphere within the Society and within the scientific community at large, ultimately encouraging women to pursue rewarding and satisfying careers in acoustics.
Learn more about the committee at
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