Research Cluster for the Investigation of Acoustic and Musical Elements of Prehistoric Archaeological Sites in Britain
Lead Research Organisation:
University of Huddersfield
Department Name: Sch of Music Humanities & Media
Abstract
What remains of ancient monuments are architectural fragments which, as John Barrett says, can 'allow us to think through the orientation of the practices which both created that architecture and which were staged within it.' Acoustic analysis is a sonically based architectural analysis that can reveal detail about these practices. Because 'time is collapsed for the archaeological observer', even a partial or fractured understanding of the use of music, acoustics and sound in a space can act to animate the information we have from these architectural fragments. Sound brings the world to life, it can appear to fill spaces, create atmospheres, and have an intense emotive power. It exists in the time domain and can add a third dimension to an otherwise flattened interpretation. Whilst architecture demarcates space, sound demarcates time.
An archaeological study of a physical space is lifeless without an accompanying understanding of the narratives that developed within it. Understanding what Giddens might call time-geographies of space, developing narratives and rites of passage, is important so that we can understand how the users of a space felt about it. In prehistory sound was a primary focus for accumulating knowledge, culture and information, as transmission largely happened using language (the acoustic), rather than writing (the visual). As Marshall Mcluhan has said, 'Among peoples at an 'oral-aural' level of culture to whom writing was unknown, the ear exercised an overwhelming tyranny over the eye.' We can therefore expect to find as much out about the reasons for the layout of a site by investigating its acoustics as by investigating its visual and physical layout, especially in a site that does not seem to be designed for strictly functional purposes such as accommodation or defence. James Gibson has told us that sound gives 'information about the temporal structure of the event that caused it and the vibratory frequency of this event . . . with great precision'. The acoustic environment, as a key focus in prehistory of communication and development within an oral and aural culture, merits as much investigation as the context of the use of bone, stone, metal, wood or ceramics.
As it exists in the time domain acoustics can give us invaluable information about so-called non-material or intangible elements of culture such as music, ritual and religion. 'When it comes to affairs of the soul, of emotion and feeling, or of the 'inwardness' of life, hearing surpasses seeing as understanding goes beyond knowledge, and as faith transcends reason. . . Vision in this conception, defines the self individually in opposition to others; hearing defines the self socially in relation to others.' (Ingold). Both Gibson and Ingold discuss how vision and hearing are not so much disparate as interchangeable, are an active single task of perception, as looking and listening. If we accept 'looking and listening' is together a fused irreducible act of perception then any archaeological analysis of architecture must include analysis of sound. 'Vision, since it is untrained by the subjective experience of light, yields knowledge of the outside world that is rational, detached, analytical and atomistic. Hearing, on the other hand, since it rests on the immediate experience of sound, is said to draw the world into the perceiver, yielding a kind of knowledge that is intuitive, engaged, synthetic and holistic.'
A series of study days will create an interdisciplinary reasearch cluster that will explore the sonic architecture of prehistory. It will involve specialists including those from the fields of archaeology, acoustics, music technology, acoustic modelling, digital modelling, CAVE and RAVE multimedia visual environments, ethnomusicology, archaeoacoustics, music archaeology and anthropology. It will aim to develop research teams and proposals that will develop focused research projects based on particular sites.
An archaeological study of a physical space is lifeless without an accompanying understanding of the narratives that developed within it. Understanding what Giddens might call time-geographies of space, developing narratives and rites of passage, is important so that we can understand how the users of a space felt about it. In prehistory sound was a primary focus for accumulating knowledge, culture and information, as transmission largely happened using language (the acoustic), rather than writing (the visual). As Marshall Mcluhan has said, 'Among peoples at an 'oral-aural' level of culture to whom writing was unknown, the ear exercised an overwhelming tyranny over the eye.' We can therefore expect to find as much out about the reasons for the layout of a site by investigating its acoustics as by investigating its visual and physical layout, especially in a site that does not seem to be designed for strictly functional purposes such as accommodation or defence. James Gibson has told us that sound gives 'information about the temporal structure of the event that caused it and the vibratory frequency of this event . . . with great precision'. The acoustic environment, as a key focus in prehistory of communication and development within an oral and aural culture, merits as much investigation as the context of the use of bone, stone, metal, wood or ceramics.
As it exists in the time domain acoustics can give us invaluable information about so-called non-material or intangible elements of culture such as music, ritual and religion. 'When it comes to affairs of the soul, of emotion and feeling, or of the 'inwardness' of life, hearing surpasses seeing as understanding goes beyond knowledge, and as faith transcends reason. . . Vision in this conception, defines the self individually in opposition to others; hearing defines the self socially in relation to others.' (Ingold). Both Gibson and Ingold discuss how vision and hearing are not so much disparate as interchangeable, are an active single task of perception, as looking and listening. If we accept 'looking and listening' is together a fused irreducible act of perception then any archaeological analysis of architecture must include analysis of sound. 'Vision, since it is untrained by the subjective experience of light, yields knowledge of the outside world that is rational, detached, analytical and atomistic. Hearing, on the other hand, since it rests on the immediate experience of sound, is said to draw the world into the perceiver, yielding a kind of knowledge that is intuitive, engaged, synthetic and holistic.'
A series of study days will create an interdisciplinary reasearch cluster that will explore the sonic architecture of prehistory. It will involve specialists including those from the fields of archaeology, acoustics, music technology, acoustic modelling, digital modelling, CAVE and RAVE multimedia visual environments, ethnomusicology, archaeoacoustics, music archaeology and anthropology. It will aim to develop research teams and proposals that will develop focused research projects based on particular sites.
Organisations
- University of Huddersfield (Lead Research Organisation)
- Music in the South (Collaboration)
- University of Valladolid (Collaboration)
- ROYAL CONSERVATOIRE OF SCOTLAND (Collaboration)
- Tuscia University (Collaboration)
- Municipality of Tarquinia (Collaboration)
- German Archaeological Institute (Collaboration)
- Austrian Academy of Sciences (Collaboration)
- Lazio Region (Collaboration)
Title | The Edge of Time: Palaeolithic Bone Flutes from France and Germany. |
Description | CD/Download/Streaming. 2017. The Edge of Time: Palaeolithic Bone Flutes from France and Germany. European Music Archaeology Project Volume 4. Delphian Records. Spotify, Apple Music, iTunes, Amazon. Rupert Till Co-producer, Anna Friederike Potengowski - flutes, Georg Wyland Wagner - Percussion. This was an album curated, commissioned and co-produced by Rupert Till, that features bone pipes, flute like instruments or aerophones, which are replicas of Palaeolithic archaeological finds from caves. |
Type Of Art | Artefact (including digital) |
Year Produced | 2017 |
Impact | The album was reviewed by the Guardian newspaper and others, and featured on BBC Radio 3 and elsewhere. It sold over 2000 copies, and resulted in numerous streams and downloads. |
URL | http://delphianrecords.co.uk/product-group/the-edge-of-time-palaeolithic-bone-flutes-from-france-ger... |
Description | A key outcome of this project was the creation of a list of relevant research questions, and a methodology and best practice document for sound archaeology field tests. These were both key focus areas of the project, and they are available online. Also availble are a bibliography, list of researchers in the field, and list of relevant links. |
Exploitation Route | This research will be of relevance to heritage professionals, government agencies and cultural agencies seeking to understand sound- based issues relating to the preservation of heritage sites. |
Sectors | Creative Economy Culture Heritage Museums and Collections |
URL | http://www.ambpnetwork.wordpress.com/ |
Description | The project's best practice documents have been used in archaeoacoustics and sound archaeology project. The research questions document led to further funding from the AHRC within the Science and Heritage programme. The bibliography has been used by numerous researchers. The website has been viewed 15,543 times to date. The project has increased understanding of the importance of sound within archaeology. |
First Year Of Impact | 2012 |
Sector | Creative Economy,Education,Culture, Heritage, Museums and Collections |
Impact Types | Cultural Societal |
Description | European Music Archaeology Project |
Amount | € 1,991,899 (EUR) |
Funding ID | 536370 |
Organisation | European Commission |
Sector | Public |
Country | European Union (EU) |
Start | 05/2013 |
End | 06/2018 |
Description | European Music Archaeology Project |
Organisation | Austrian Academy of Sciences |
Department | Institute of Ancient Cultural History |
Country | Austria |
Sector | Charity/Non Profit |
PI Contribution | The University of Huddersfield / School of Music, Humanities and Media is committed to the Coordinator to co-finance the Project during its five years duration, to the amount of 139.083,00€; in addition, in order to implement the Project, the University of Huddersfield / School of Music, Humanities and Media is committed to the Coordinator and to all other Co-organisers for the following roles and tasks: - Scientific direction and management of the virtual reconstruction of ancient soundscapes; - Twenty-three travels for recording the reconstructions of ancient musical instruments; - Post-production, editing, mastering, and printing of five CDs during theProject period; - Scientific contribution to the development of the Project contents; - Creation of four digital audio-visual display installations for the exhibition; - Management of press, public relations, and advertising related to all local activity; - Organization of symposia on acoustics of ancient sites at the Huddersfield University; - Organization of three concerts in Huddersfield; - Travels to the general Project meetings; - Organization of one general Project meeting in Huddersfield; - Financial administration of all the above listed activities. |
Collaborator Contribution | Creation of travelling exhibition that is now touring Europe. Arrangement of a number of concerts. The project is focused on music archaeology, and exploring common European ancient musical heritage. |
Impact | The Edge of Time: Palaeolithic Bone Flutes from France and Germany. European Music Archaeology Project Volume 4. Delphian Records. (forthcoming 2017). (CD and Download). Co-producer. 2016. Soundgate Museum Exhibit. In Archaeomusica Exhibition. Ystad Abbey, Sweden. Artistic Director and Soundtrack Composer. Tour venues include Spain, Italy, Slovenia, Cyprus, Switzerland, Germany, Belgium, China. 2016. Interactive Soundgate Museum Exhibit. In Archaeomusica Exhibition. Ystad Abbey, Sweden. Tour venues include Spain, Italy, Slovenia, Cyprus, Switzerland, Germany, Belgium, China. 2016. Spellweaving: Ancient Music from the Highlands of Scotland. European Music Archaeology Project Volume 1. Delphian Records. (CD and Download). Co-producer. 2016. Ice and Longboats: Ancient Music of Scandinavia. European Music Archaeology Project Volume 2. Delphian Records. (CD and Download). Co-producer. 2016. Dragon Voices: The Giant Celtic Horns of Ancient Europe. European Music Archaeology Project Volume 3. Delphian Records. (CD and Download). Co-producer. 2014. Songs of the Caves, music for film, created for an AHRC/EPSRC-funded project, with film-maker Aaron Watson. |
Start Year | 2013 |
Description | European Music Archaeology Project |
Organisation | German Archaeological Institute |
Department | Orient Department |
Country | Germany |
Sector | Public |
PI Contribution | The University of Huddersfield / School of Music, Humanities and Media is committed to the Coordinator to co-finance the Project during its five years duration, to the amount of 139.083,00€; in addition, in order to implement the Project, the University of Huddersfield / School of Music, Humanities and Media is committed to the Coordinator and to all other Co-organisers for the following roles and tasks: - Scientific direction and management of the virtual reconstruction of ancient soundscapes; - Twenty-three travels for recording the reconstructions of ancient musical instruments; - Post-production, editing, mastering, and printing of five CDs during theProject period; - Scientific contribution to the development of the Project contents; - Creation of four digital audio-visual display installations for the exhibition; - Management of press, public relations, and advertising related to all local activity; - Organization of symposia on acoustics of ancient sites at the Huddersfield University; - Organization of three concerts in Huddersfield; - Travels to the general Project meetings; - Organization of one general Project meeting in Huddersfield; - Financial administration of all the above listed activities. |
Collaborator Contribution | Creation of travelling exhibition that is now touring Europe. Arrangement of a number of concerts. The project is focused on music archaeology, and exploring common European ancient musical heritage. |
Impact | The Edge of Time: Palaeolithic Bone Flutes from France and Germany. European Music Archaeology Project Volume 4. Delphian Records. (forthcoming 2017). (CD and Download). Co-producer. 2016. Soundgate Museum Exhibit. In Archaeomusica Exhibition. Ystad Abbey, Sweden. Artistic Director and Soundtrack Composer. Tour venues include Spain, Italy, Slovenia, Cyprus, Switzerland, Germany, Belgium, China. 2016. Interactive Soundgate Museum Exhibit. In Archaeomusica Exhibition. Ystad Abbey, Sweden. Tour venues include Spain, Italy, Slovenia, Cyprus, Switzerland, Germany, Belgium, China. 2016. Spellweaving: Ancient Music from the Highlands of Scotland. European Music Archaeology Project Volume 1. Delphian Records. (CD and Download). Co-producer. 2016. Ice and Longboats: Ancient Music of Scandinavia. European Music Archaeology Project Volume 2. Delphian Records. (CD and Download). Co-producer. 2016. Dragon Voices: The Giant Celtic Horns of Ancient Europe. European Music Archaeology Project Volume 3. Delphian Records. (CD and Download). Co-producer. 2014. Songs of the Caves, music for film, created for an AHRC/EPSRC-funded project, with film-maker Aaron Watson. |
Start Year | 2013 |
Description | European Music Archaeology Project |
Organisation | Lazio Region |
Department | Council for Culture, Sport, Youth Policy and Tourism |
Country | Italy |
Sector | Public |
PI Contribution | The University of Huddersfield / School of Music, Humanities and Media is committed to the Coordinator to co-finance the Project during its five years duration, to the amount of 139.083,00€; in addition, in order to implement the Project, the University of Huddersfield / School of Music, Humanities and Media is committed to the Coordinator and to all other Co-organisers for the following roles and tasks: - Scientific direction and management of the virtual reconstruction of ancient soundscapes; - Twenty-three travels for recording the reconstructions of ancient musical instruments; - Post-production, editing, mastering, and printing of five CDs during theProject period; - Scientific contribution to the development of the Project contents; - Creation of four digital audio-visual display installations for the exhibition; - Management of press, public relations, and advertising related to all local activity; - Organization of symposia on acoustics of ancient sites at the Huddersfield University; - Organization of three concerts in Huddersfield; - Travels to the general Project meetings; - Organization of one general Project meeting in Huddersfield; - Financial administration of all the above listed activities. |
Collaborator Contribution | Creation of travelling exhibition that is now touring Europe. Arrangement of a number of concerts. The project is focused on music archaeology, and exploring common European ancient musical heritage. |
Impact | The Edge of Time: Palaeolithic Bone Flutes from France and Germany. European Music Archaeology Project Volume 4. Delphian Records. (forthcoming 2017). (CD and Download). Co-producer. 2016. Soundgate Museum Exhibit. In Archaeomusica Exhibition. Ystad Abbey, Sweden. Artistic Director and Soundtrack Composer. Tour venues include Spain, Italy, Slovenia, Cyprus, Switzerland, Germany, Belgium, China. 2016. Interactive Soundgate Museum Exhibit. In Archaeomusica Exhibition. Ystad Abbey, Sweden. Tour venues include Spain, Italy, Slovenia, Cyprus, Switzerland, Germany, Belgium, China. 2016. Spellweaving: Ancient Music from the Highlands of Scotland. European Music Archaeology Project Volume 1. Delphian Records. (CD and Download). Co-producer. 2016. Ice and Longboats: Ancient Music of Scandinavia. European Music Archaeology Project Volume 2. Delphian Records. (CD and Download). Co-producer. 2016. Dragon Voices: The Giant Celtic Horns of Ancient Europe. European Music Archaeology Project Volume 3. Delphian Records. (CD and Download). Co-producer. 2014. Songs of the Caves, music for film, created for an AHRC/EPSRC-funded project, with film-maker Aaron Watson. |
Start Year | 2013 |
Description | European Music Archaeology Project |
Organisation | Municipality of Tarquinia |
Country | Italy |
Sector | Public |
PI Contribution | The University of Huddersfield / School of Music, Humanities and Media is committed to the Coordinator to co-finance the Project during its five years duration, to the amount of 139.083,00€; in addition, in order to implement the Project, the University of Huddersfield / School of Music, Humanities and Media is committed to the Coordinator and to all other Co-organisers for the following roles and tasks: - Scientific direction and management of the virtual reconstruction of ancient soundscapes; - Twenty-three travels for recording the reconstructions of ancient musical instruments; - Post-production, editing, mastering, and printing of five CDs during theProject period; - Scientific contribution to the development of the Project contents; - Creation of four digital audio-visual display installations for the exhibition; - Management of press, public relations, and advertising related to all local activity; - Organization of symposia on acoustics of ancient sites at the Huddersfield University; - Organization of three concerts in Huddersfield; - Travels to the general Project meetings; - Organization of one general Project meeting in Huddersfield; - Financial administration of all the above listed activities. |
Collaborator Contribution | Creation of travelling exhibition that is now touring Europe. Arrangement of a number of concerts. The project is focused on music archaeology, and exploring common European ancient musical heritage. |
Impact | The Edge of Time: Palaeolithic Bone Flutes from France and Germany. European Music Archaeology Project Volume 4. Delphian Records. (forthcoming 2017). (CD and Download). Co-producer. 2016. Soundgate Museum Exhibit. In Archaeomusica Exhibition. Ystad Abbey, Sweden. Artistic Director and Soundtrack Composer. Tour venues include Spain, Italy, Slovenia, Cyprus, Switzerland, Germany, Belgium, China. 2016. Interactive Soundgate Museum Exhibit. In Archaeomusica Exhibition. Ystad Abbey, Sweden. Tour venues include Spain, Italy, Slovenia, Cyprus, Switzerland, Germany, Belgium, China. 2016. Spellweaving: Ancient Music from the Highlands of Scotland. European Music Archaeology Project Volume 1. Delphian Records. (CD and Download). Co-producer. 2016. Ice and Longboats: Ancient Music of Scandinavia. European Music Archaeology Project Volume 2. Delphian Records. (CD and Download). Co-producer. 2016. Dragon Voices: The Giant Celtic Horns of Ancient Europe. European Music Archaeology Project Volume 3. Delphian Records. (CD and Download). Co-producer. 2014. Songs of the Caves, music for film, created for an AHRC/EPSRC-funded project, with film-maker Aaron Watson. |
Start Year | 2013 |
Description | European Music Archaeology Project |
Organisation | Music in the South |
Country | Sweden |
Sector | Academic/University |
PI Contribution | The University of Huddersfield / School of Music, Humanities and Media is committed to the Coordinator to co-finance the Project during its five years duration, to the amount of 139.083,00€; in addition, in order to implement the Project, the University of Huddersfield / School of Music, Humanities and Media is committed to the Coordinator and to all other Co-organisers for the following roles and tasks: - Scientific direction and management of the virtual reconstruction of ancient soundscapes; - Twenty-three travels for recording the reconstructions of ancient musical instruments; - Post-production, editing, mastering, and printing of five CDs during theProject period; - Scientific contribution to the development of the Project contents; - Creation of four digital audio-visual display installations for the exhibition; - Management of press, public relations, and advertising related to all local activity; - Organization of symposia on acoustics of ancient sites at the Huddersfield University; - Organization of three concerts in Huddersfield; - Travels to the general Project meetings; - Organization of one general Project meeting in Huddersfield; - Financial administration of all the above listed activities. |
Collaborator Contribution | Creation of travelling exhibition that is now touring Europe. Arrangement of a number of concerts. The project is focused on music archaeology, and exploring common European ancient musical heritage. |
Impact | The Edge of Time: Palaeolithic Bone Flutes from France and Germany. European Music Archaeology Project Volume 4. Delphian Records. (forthcoming 2017). (CD and Download). Co-producer. 2016. Soundgate Museum Exhibit. In Archaeomusica Exhibition. Ystad Abbey, Sweden. Artistic Director and Soundtrack Composer. Tour venues include Spain, Italy, Slovenia, Cyprus, Switzerland, Germany, Belgium, China. 2016. Interactive Soundgate Museum Exhibit. In Archaeomusica Exhibition. Ystad Abbey, Sweden. Tour venues include Spain, Italy, Slovenia, Cyprus, Switzerland, Germany, Belgium, China. 2016. Spellweaving: Ancient Music from the Highlands of Scotland. European Music Archaeology Project Volume 1. Delphian Records. (CD and Download). Co-producer. 2016. Ice and Longboats: Ancient Music of Scandinavia. European Music Archaeology Project Volume 2. Delphian Records. (CD and Download). Co-producer. 2016. Dragon Voices: The Giant Celtic Horns of Ancient Europe. European Music Archaeology Project Volume 3. Delphian Records. (CD and Download). Co-producer. 2014. Songs of the Caves, music for film, created for an AHRC/EPSRC-funded project, with film-maker Aaron Watson. |
Start Year | 2013 |
Description | European Music Archaeology Project |
Organisation | Royal Conservatoire of Scotland |
Country | United Kingdom |
Sector | Academic/University |
PI Contribution | The University of Huddersfield / School of Music, Humanities and Media is committed to the Coordinator to co-finance the Project during its five years duration, to the amount of 139.083,00€; in addition, in order to implement the Project, the University of Huddersfield / School of Music, Humanities and Media is committed to the Coordinator and to all other Co-organisers for the following roles and tasks: - Scientific direction and management of the virtual reconstruction of ancient soundscapes; - Twenty-three travels for recording the reconstructions of ancient musical instruments; - Post-production, editing, mastering, and printing of five CDs during theProject period; - Scientific contribution to the development of the Project contents; - Creation of four digital audio-visual display installations for the exhibition; - Management of press, public relations, and advertising related to all local activity; - Organization of symposia on acoustics of ancient sites at the Huddersfield University; - Organization of three concerts in Huddersfield; - Travels to the general Project meetings; - Organization of one general Project meeting in Huddersfield; - Financial administration of all the above listed activities. |
Collaborator Contribution | Creation of travelling exhibition that is now touring Europe. Arrangement of a number of concerts. The project is focused on music archaeology, and exploring common European ancient musical heritage. |
Impact | The Edge of Time: Palaeolithic Bone Flutes from France and Germany. European Music Archaeology Project Volume 4. Delphian Records. (forthcoming 2017). (CD and Download). Co-producer. 2016. Soundgate Museum Exhibit. In Archaeomusica Exhibition. Ystad Abbey, Sweden. Artistic Director and Soundtrack Composer. Tour venues include Spain, Italy, Slovenia, Cyprus, Switzerland, Germany, Belgium, China. 2016. Interactive Soundgate Museum Exhibit. In Archaeomusica Exhibition. Ystad Abbey, Sweden. Tour venues include Spain, Italy, Slovenia, Cyprus, Switzerland, Germany, Belgium, China. 2016. Spellweaving: Ancient Music from the Highlands of Scotland. European Music Archaeology Project Volume 1. Delphian Records. (CD and Download). Co-producer. 2016. Ice and Longboats: Ancient Music of Scandinavia. European Music Archaeology Project Volume 2. Delphian Records. (CD and Download). Co-producer. 2016. Dragon Voices: The Giant Celtic Horns of Ancient Europe. European Music Archaeology Project Volume 3. Delphian Records. (CD and Download). Co-producer. 2014. Songs of the Caves, music for film, created for an AHRC/EPSRC-funded project, with film-maker Aaron Watson. |
Start Year | 2013 |
Description | European Music Archaeology Project |
Organisation | Tuscia University |
Department | Department of Cultural Heritage and Environment |
Country | Italy |
Sector | Academic/University |
PI Contribution | The University of Huddersfield / School of Music, Humanities and Media is committed to the Coordinator to co-finance the Project during its five years duration, to the amount of 139.083,00€; in addition, in order to implement the Project, the University of Huddersfield / School of Music, Humanities and Media is committed to the Coordinator and to all other Co-organisers for the following roles and tasks: - Scientific direction and management of the virtual reconstruction of ancient soundscapes; - Twenty-three travels for recording the reconstructions of ancient musical instruments; - Post-production, editing, mastering, and printing of five CDs during theProject period; - Scientific contribution to the development of the Project contents; - Creation of four digital audio-visual display installations for the exhibition; - Management of press, public relations, and advertising related to all local activity; - Organization of symposia on acoustics of ancient sites at the Huddersfield University; - Organization of three concerts in Huddersfield; - Travels to the general Project meetings; - Organization of one general Project meeting in Huddersfield; - Financial administration of all the above listed activities. |
Collaborator Contribution | Creation of travelling exhibition that is now touring Europe. Arrangement of a number of concerts. The project is focused on music archaeology, and exploring common European ancient musical heritage. |
Impact | The Edge of Time: Palaeolithic Bone Flutes from France and Germany. European Music Archaeology Project Volume 4. Delphian Records. (forthcoming 2017). (CD and Download). Co-producer. 2016. Soundgate Museum Exhibit. In Archaeomusica Exhibition. Ystad Abbey, Sweden. Artistic Director and Soundtrack Composer. Tour venues include Spain, Italy, Slovenia, Cyprus, Switzerland, Germany, Belgium, China. 2016. Interactive Soundgate Museum Exhibit. In Archaeomusica Exhibition. Ystad Abbey, Sweden. Tour venues include Spain, Italy, Slovenia, Cyprus, Switzerland, Germany, Belgium, China. 2016. Spellweaving: Ancient Music from the Highlands of Scotland. European Music Archaeology Project Volume 1. Delphian Records. (CD and Download). Co-producer. 2016. Ice and Longboats: Ancient Music of Scandinavia. European Music Archaeology Project Volume 2. Delphian Records. (CD and Download). Co-producer. 2016. Dragon Voices: The Giant Celtic Horns of Ancient Europe. European Music Archaeology Project Volume 3. Delphian Records. (CD and Download). Co-producer. 2014. Songs of the Caves, music for film, created for an AHRC/EPSRC-funded project, with film-maker Aaron Watson. |
Start Year | 2013 |
Description | European Music Archaeology Project |
Organisation | University of Valladolid |
Country | Spain |
Sector | Academic/University |
PI Contribution | The University of Huddersfield / School of Music, Humanities and Media is committed to the Coordinator to co-finance the Project during its five years duration, to the amount of 139.083,00€; in addition, in order to implement the Project, the University of Huddersfield / School of Music, Humanities and Media is committed to the Coordinator and to all other Co-organisers for the following roles and tasks: - Scientific direction and management of the virtual reconstruction of ancient soundscapes; - Twenty-three travels for recording the reconstructions of ancient musical instruments; - Post-production, editing, mastering, and printing of five CDs during theProject period; - Scientific contribution to the development of the Project contents; - Creation of four digital audio-visual display installations for the exhibition; - Management of press, public relations, and advertising related to all local activity; - Organization of symposia on acoustics of ancient sites at the Huddersfield University; - Organization of three concerts in Huddersfield; - Travels to the general Project meetings; - Organization of one general Project meeting in Huddersfield; - Financial administration of all the above listed activities. |
Collaborator Contribution | Creation of travelling exhibition that is now touring Europe. Arrangement of a number of concerts. The project is focused on music archaeology, and exploring common European ancient musical heritage. |
Impact | The Edge of Time: Palaeolithic Bone Flutes from France and Germany. European Music Archaeology Project Volume 4. Delphian Records. (forthcoming 2017). (CD and Download). Co-producer. 2016. Soundgate Museum Exhibit. In Archaeomusica Exhibition. Ystad Abbey, Sweden. Artistic Director and Soundtrack Composer. Tour venues include Spain, Italy, Slovenia, Cyprus, Switzerland, Germany, Belgium, China. 2016. Interactive Soundgate Museum Exhibit. In Archaeomusica Exhibition. Ystad Abbey, Sweden. Tour venues include Spain, Italy, Slovenia, Cyprus, Switzerland, Germany, Belgium, China. 2016. Spellweaving: Ancient Music from the Highlands of Scotland. European Music Archaeology Project Volume 1. Delphian Records. (CD and Download). Co-producer. 2016. Ice and Longboats: Ancient Music of Scandinavia. European Music Archaeology Project Volume 2. Delphian Records. (CD and Download). Co-producer. 2016. Dragon Voices: The Giant Celtic Horns of Ancient Europe. European Music Archaeology Project Volume 3. Delphian Records. (CD and Download). Co-producer. 2014. Songs of the Caves, music for film, created for an AHRC/EPSRC-funded project, with film-maker Aaron Watson. |
Start Year | 2013 |
Description | 'Blasts from the Past: Now That's What I Call Prehistoric Music'. New Scientist, 224(2995): 44-7. (2014). |
Form Of Engagement Activity | A magazine, newsletter or online publication |
Part Of Official Scheme? | No |
Geographic Reach | International |
Primary Audience | Public/other audiences |
Results and Impact | Rupert Till was approached by the New Scientist Magazine to write an article on sound archaeology |
Year(s) Of Engagement Activity | 2014 |
Description | 'Entrancement and entrainment: techno-shamans from prehistory to Bargain' invited presentation at the CTM Festival, Berlin |
Form Of Engagement Activity | A talk or presentation |
Part Of Official Scheme? | No |
Geographic Reach | International |
Primary Audience | Public/other audiences |
Results and Impact | Rupert Till was invited to present at the Club Transmediale Festival in Berlin, an electronic music festival that takes place annually in the city. Iegor Reznikoff was also asked to participate, as was Paul Devereux, two experienced sound archaeology researchers. |
Year(s) Of Engagement Activity | 2015 |
URL | https://soundcloud.com/ctm-festival/ctm-2015-entrancement-and-entrainment-lecture-by-rupert-till |
Description | 'In Search of Lost Sounds', Nature Journal Podcast |
Form Of Engagement Activity | A broadcast e.g. TV/radio/film/podcast (other than news/press) |
Part Of Official Scheme? | No |
Geographic Reach | International |
Primary Audience | Public/other audiences |
Results and Impact | Nature Journal published a podcast on Sound Archaeology that featured sound in prehistory and the research of Rupert Till in particular. |
Year(s) Of Engagement Activity | 2015 |
URL | http://www.nature.com/nature/podcast/index-audiofile-2015-05-26.html |
Description | 'Rock of Ages', interview and 5 minute radio piece, PM Show, BBC Radio 4, 14 January 2015. |
Form Of Engagement Activity | A press release, press conference or response to a media enquiry/interview |
Part Of Official Scheme? | No |
Geographic Reach | National |
Primary Audience | Public/other audiences |
Results and Impact | The PM show became interested in sound archaeology and interviewed Rupert Till alongside others on BBC Radio 2. This primetime show attracts about 1.5 million UK listeners. |
Year(s) Of Engagement Activity | 2015 |
Description | 'Volume Without Sparks', Interview on Stonehenge research, Australian Broadcasting Corporation Radio National |
Form Of Engagement Activity | A broadcast e.g. TV/radio/film/podcast (other than news/press) |
Part Of Official Scheme? | No |
Geographic Reach | International |
Primary Audience | Public/other audiences |
Results and Impact | 'Volume Without Sparks', Interview on Stonehenge research, Australian Broadcasting Corporation Radio National, 17.4.15. This was a broadcast on national Australian radio discussing sound archaeology and archaeoacoustics, and featuring the research of Rupert Till on the acoustics of Stonehenge and other archaeological sites. |
Year(s) Of Engagement Activity | 2015 |
Description | 1 hour radio documentary based on the acoustics of caves commissioned by German Radio Station Deutsche Radio Kultur. |
Form Of Engagement Activity | A broadcast e.g. TV/radio/film/podcast (other than news/press) |
Part Of Official Scheme? | No |
Geographic Reach | International |
Primary Audience | Public/other audiences |
Results and Impact | Archäoakustik: Auf der Suche nach Echo, Deutsche Radio Kultur (DRK), dir. Annie Goh. Featuring Rupert Till, Anna Friederike Potengowski and Iegor Reznikoff. June 2015. Archaeoacoustics researchers Rupert Till and Igor Reznikoff travelled to Isturitz and Arcy-sur-Cure caves to carry out sound archaeology research accompanied by a recording crew from DRK. They explored sound and acoustics in the caves. Isturitz Cave was the site of a find of numerous prehistoric musical instruments, such as vulture bone flutes. A reconstruction of this flute was played and recorded in the cave, and acoustical tests were carried out using scientific instruments to explore Reznikoff's voice led approach to studying sound in such sites. |
Year(s) Of Engagement Activity | 2015 |
URL | http://www.deutschlandradiokultur.de/ursendung-klingende-fruehgeschichte-archaeoakustik.1022.de.html... |
Description | Archäoakustik: Auf der Suche nach Echo |
Form Of Engagement Activity | A broadcast e.g. TV/radio/film/podcast (other than news/press) |
Part Of Official Scheme? | No |
Geographic Reach | International |
Primary Audience | Public/other audiences |
Results and Impact | Archäoakustik: Auf der Suche nach Echo, Deutsche Radio Kultur 1 hour radio programme, dir. Annie Goh. Featuring Rupert Till and Iegor Reznikoff. Exploring the acoustics of caves. |
Year(s) Of Engagement Activity | 2015 |
URL | http://www.deutschlandradiokultur.de/ursendung-klingende-fruehgeschichte-archaeoakustik.1022.de.html... |
Description | Article in Nature Journal |
Form Of Engagement Activity | A magazine, newsletter or online publication |
Part Of Official Scheme? | No |
Geographic Reach | International |
Primary Audience | Public/other audiences |
Results and Impact | This is an article on PI Rupert Till's sound archaeology work in Nature Magazine that was commissioned. A large number of enquiries and web hits came as a result of this article. |
Year(s) Of Engagement Activity | 2014 |
URL | http://www.nature.com/nature/journal/v506/n7487/full/506158a.html?WT.ec_id=NATURE-20140213 |
Description | Consultancy, Radio SRF2 Kultur, Switzerland, national radio interview and article on my research, (January 2014). |
Form Of Engagement Activity | A press release, press conference or response to a media enquiry/interview |
Part Of Official Scheme? | No |
Geographic Reach | International |
Primary Audience | Public/other audiences |
Results and Impact | Consultancy, Radio SRF2 Kultur, Switzerland, national radio interview and article on my research, (January 2014). |
Year(s) Of Engagement Activity | 2014 |
Description | Consultant for Hearing the Past, BBC Radio 4 documentary |
Form Of Engagement Activity | A broadcast e.g. TV/radio/film/podcast (other than news/press) |
Part Of Official Scheme? | No |
Geographic Reach | National |
Primary Audience | Public/other audiences |
Results and Impact | Consultant for Hearing the Past, BBC Radio 4 documentary, Winner of Association of British Science Writers' Award, Royal Society Radio Prize for the best scripted/edited radio programme or podcast (2011). This radio documentary, an hour long, featured an extended interview with Rupert Till, discussing sound and archaeology. This is still available on Radio 4 online. "Professor Jim Al-Khalili explores what the past would have sounded like to our ancestors, and investigates how it is helping us to improve our acoustic designs of the future." |
Year(s) Of Engagement Activity | 2013 |
URL | http://www.bbc.co.uk/programmes/b014f9q5 |
Description | Stonehenge sounds recreated using virtual technology |
Form Of Engagement Activity | A broadcast e.g. TV/radio/film/podcast (other than news/press) |
Part Of Official Scheme? | No |
Geographic Reach | International |
Primary Audience | Public/other audiences |
Results and Impact | Interview & Dissemination on virtual modelling of archaeological sites and their acoustics. BBC Breakfast, BBC News, BBC America. |
Year(s) Of Engagement Activity | 2017 |
URL | http://www.bbc.co.uk/news/uk-england-wiltshire-38528833 |
Description | The Lost Sounds of Stonehenge |
Form Of Engagement Activity | A broadcast e.g. TV/radio/film/podcast (other than news/press) |
Part Of Official Scheme? | No |
Geographic Reach | International |
Primary Audience | Public/other audiences |
Results and Impact | Interview & Dissemination. Exploring acoustics of archaeological sites and virtual modelling. BBC Radio 2, 4, 5, 6 World Service. |
Year(s) Of Engagement Activity | 2017 |
URL | http://www.bbc.co.uk/news/entertainment-arts-38530755 |