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ACOUSTICS IN MUSIC ARCHAEOLOGY Díaz-Andreu, M., and Mattioli, T. (2017). Rock art, music and acous- tics: A global overview. The Oxford Handbook of the Archaeology and Anthropology of Rock Art, pp. 503-528. https://doi.org/10.1093/oxfordhb/9780190607357.013.8. Eichmann, R. (2018). Music archaeology. In R. Bader (Ed.), Springer Handbook of Systematic Musicology. Springer International Publish- ing, Cham, Switzerland, pp. 1005-1015. Fazenda, B., Scarre, C., Till, R., Jiménez Pasalodos, R., Rojo Guerra, M., Tejedor, C., Ontañón Peredo, R., Watson, A., Wyatt, S., García Benito, C., and Drinkall, H. (2017). Cave acoustics in prehistory: Exploring the association of palaeolithic visual motifs and acoustic response. The Journal of the Acoustical Society of America 142, 1332- 1349. https://doi.org/10.1121/1.4998721. Fritz, C., and Tosello, G. (2010). Marsoulas: Renaissance d’une Grotte Ornée. Éditions Errance, Paris, France. 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R., and Abel, J. S. (2012). Ancient pututus contextualized: Integrative archaeoacoustics at Chavín de Huántar, Perú. In M. Stöckli and A. A. Both (Eds.), Flower World: Music Archaeology of the Americas, vol. 1. Ekho VERLAG, Berlin, Germany, pp. 23-53. Lane, K. J. (In Press). Pounding the ground for the thunder god: Sprung dancefloors in the Pre-Hispanic Andes. Journal of Anthropological Archaeology, Special Issue: Latin American Music Archaeology. Loose, R. (2012). That old music: A reproduction of a shell trum- pet from Pueblo Bonito. Papers of the Archaeological Society of New Mexico 38, 127-133. Lubman, D. (1998). Archaeological acoustic study of chirped echo from the Mayan pyramid at Chichén Itzá. The Journal of the Acousti- cal Society of America 104(3), 1763. Mattioli, T., and Díaz-Andreu, M. (2017). Hearing rock art land- scapes: A survey of the acoustical perception in the Sierra de San Serván area in Extremadura (Spain). 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Mas- ter’s Thesis, Kent State University, Kent, OH. Stöckli, M., and Howell, M. (Eds.). (2020). Flower World: Music Archaeology of the Americas, vol. 6. Ekho VERLAG, Berlin, Germany. Available at https://www.ekho-verlag.com/flower-world-vol-6/. Till, R. (2014). Sound archaeology: Terminology, Paleolithic cave art and the soundscape. World Archaeology, 46(3), 292-304. Valentin, L., Kolar, M. A., and Monteil, P. (2022). Speleoacoustics in Southern Ardèche for auralizations and music experimentation. Pro- ceedings of the Sound and Music Computing Conference, SMC-22: Music Technology and Design. Saint-Étienne, France June 4-12, 2022. Witt, D., and Primeau, K. (2019). Performance space, political theater, and audibility. Acoustics 1(1), 79-81. https://doi.org/10.3390/acoustics1010007. Wolfe, J. (2018). The acoustics of woodwind musical instruments. Acoustics Today 14(1), 50-56. Wolfe, J. (2020) Brass instrument (lip reed) acoustics: An introduc- tion. Available at http://www.phys.unsw.edu.au/jw/brassacoustics.html. Accessed February 19, 2022. About the Authors Miriam A. Kolar kolar@culturalacoustics.org Center for Computer Research in Music and Acoustics (CCRMA) Department of Music Stanford University Stanford, California 94305-8180, USA Miriam A. Kolar, an adjunct professor in the Center for Computer Research in Music and Acoustics (CCRMA), Stan- ford University, Stanford, California, studies human-sonic interrelationships across time and geography, integrating acoustical and auditory perceptual science methodologies in prehistoric archaeology. Since 2008, Dr. Kolar has led archaeoacoustics and music archaeology research at the 3,000-year-old UNESCO World Heritage Centre Chavín de Huántar, Peru, with a second Andean project on sonic com- munication in Inca contexts. She has joined Carole Fritz and Gilles Tosello in coordinating acoustics research in Upper Paleolithic sites including the Chauvet and Marsoulas caves. She collaborates on auralization research and multimodal interfaces for cultural heritage engagement. 60 Acoustics Today • Summer 2022