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and interaction features. Music archaeology, despite its ephemeral topic, can be studied by relating sound-produc- ing instruments to plausible sites of their use that are better known for visual-expressive culture. Exploring the mechanics of archaeological materi- als, objects, and structures was once only a possibility through direct testing and experimental reconstructions of instruments using archaeologically substantiated materials and techniques. Now, in addition to physical experimental methods, computational acoustical models enable virtual testing and reconstructions beyond the creation of three-dimensional (3D)-printed replicas that can be produced for aerophones in particular (Katz, 2016). Acoustical measurements of sound-producing instruments and associated spaces provide data to drive computational models and verify these archaeological reconstructions, with direct applications in auralization simulations. Acoustics research opportunities abound in both fieldwork and virtual domains! Music Archaeology into the Future Although musical content cannot be recovered from most material remnants of past life, except in the case of materials with musical notation and, more recently, audio recordings, new approaches to music archaeology leverage physics. How instruments work and how their acoustics interact with performance settings can be tested experimentally (Kolar, 2020), related to performance-set- ting acoustics (Boren, 2021), and, for landscape contexts, estimated using geographical information system (GIS) tools (Witt and Primeau, 2019). These reconstructive explorations can be shared with public audiences via both data visualizations and auralizations, combining cultural heritage spatial acoustics (Katz et al., 2020) with anthro- pological treatments of sonic communication in the form of music. Cross-disciplinary collaborations unite the distinct areas of expertise required in relating materials and mechanics to human expressive culture. For example, the pioneering European Music Archaeology Project (see emaproject.eu) produced novel explorations of archaeo- logical sites, including caves (Till, 2014), with a musical focus, featuring creative reconstructions of music per- formed in archaeological acoustical simulations. The Marsoulas conch and its Magdalenian resting place in the Marsoulas Cave in southern France offer unprec- edented physical evidence of the interconnectedness of visual art making and music. Acoustical science has enabled a functional evaluation of this proposed ancient musical instrument and provided empirical means for characterizing the sounding relationship of the shell horn with a likely context for its performance, despite 18,000 years of silence. Around the world, recent integrations of acoustics and auditory science research in music archae- ology are revealing new evidence about sonic expressive culture throughout time. Acoustical methodologies hone the re-sounding of materials and places of importance in past societies, enabling physics-based explorations of music archaeology for audiences today. Acknowledgments We thank colleagues in the French Ministry of Culture, and at the Museum of Toulouse, France, for research sup- port and for access to the cultural heritage materials and sites relevant to our studies. We highlight the contribu- tions to the Marsoulas conch study (Fritz et al., 2021) from Pascal Gaillard, Julien Tardieu, and Jean-Michel Court (Plateau d’Etudes Techniques et de Recherches en Audition \[PETRA\], University of Toulouse, France); Emmanuel Kasarhérou (Musée du Quai Branly-Jacques Chirac, Paris, France); Francis Duranthon (Museum d’Histoire Naturelle, Paris, France); and Philippe Walter (Laboratoire d’Archéologie Moléculaire et Structurale \[LAMS\], Centre National de la Recherche Scientifique \[CNRS\], Sorbonne Université, Paris, France). Barbara Nerness and Luna Valentin collaborated on acoustical measurements of the Marsoulas Cave. References Atema, J. (2014). Musical origins and the Stone Age evolution of flutes. Acoustics Today 10(3), 26-34. Boren, B. (2021). Acoustic simulation of J. S. Bach’s Thomaskirche in 1723 and 1539. Acta Acustica 5, Article 14. https://doi.org/10.1051/aacus/2021006. Both, A. A. (2021). Sonic artefacts of Teotihuacan, Mexico (horns, trumpets and pipes). Acoustics 3(3), 507-544. https://doi.org/10.3390/acoustics3030034. Campbell, M., and Kenny, J. (2012). Acoustical and musical properties of the Deskford carnyx reconstruction. Proceedings of the Acoustics 2012 Nantes Conference, 11th Congrès Français d’Acoustique 2012, Société Française d’Acoustique, Nantes, France, April 23-27, 2012, pp. 3961-3966. Available at https://acousticstoday.org/4sDjA. Accessed August 12, 2018. Campbell, M., Gilbert, J., and Myers, A. (2021). The Science of Brass Instruments. Springer Nature, Cham, Switzerland. Commins, D. E., Coppens, Y., and Hidaka, T. (2020). Acoustics of the Las- caux Cave and its facsimile Lascaux IV. The Journal of the Acoustical Society of America 142, 1332-1349. https://doi.org/10.1121/10.0001724. Summer 2022 • Acoustics Today 59