Angela Bellia
Angela Bellia - PhD
Researcher
National Research Council (CNR)
Institute of Heritage Science (ISPC)
Archaeological Institute of America
Chair of the Archaeomusicology Interest Group (AMIG)
Editor in Chief of TELESTES. An International Journal of Archaeomusicology and Archaeology of Sound
Editor in Chief of the series TELESTES. Studi e Ricerche di Archeologia Musicale nel Mediterraneo
Mentor in the Joint European Mentoring Initiative’s (JEMI) pilot programme in North America
Email: angbellia@gmail.com
https://nationalacademies.academia.edu/AngelaBellia
https://www.facebook.com/angela.bellia.56
Researcher
National Research Council (CNR)
Institute of Heritage Science (ISPC)
Archaeological Institute of America
Chair of the Archaeomusicology Interest Group (AMIG)
Editor in Chief of TELESTES. An International Journal of Archaeomusicology and Archaeology of Sound
Editor in Chief of the series TELESTES. Studi e Ricerche di Archeologia Musicale nel Mediterraneo
Mentor in the Joint European Mentoring Initiative’s (JEMI) pilot programme in North America
Email: angbellia@gmail.com
https://nationalacademies.academia.edu/AngelaBellia
https://www.facebook.com/angela.bellia.56
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This seminar is part of the research project ERC (European Research Council) Advanced Grant Locus Ludi. The Cultural Fabric of Play and Games in Classical Antiquity (Grant n° 741520).
comunicare anche attraverso gli strumenti e l e applicazioni per l ’interazione con il mondo virtuale. Si esplorerà come l o sviluppo di strumenti i nterattivi finalizzati a coinvolgere i visitatori come “soundwalker” di ricostruzioni virtuali di siti
archeologici o luoghi di interesse storico-culturale e architettonico e del l oro “historical soundscape” possa aprire
nuove prospettive di ricerca.
Webinar SONIC HERITAGE: Interazioni sonore e multisensoriali nella Realtà Virtuale Immersiva e nel Patrimonio culturale curato da Angela Bellia ed Eva Pietroni, che si svolto all'Istituto di Scienze del Patrimonio Culturale (ISPC) del Consiglio Nazionale delle Ricerche (CNR) il 3 e 4 marzo 2021.
These are the topics of the webinar From the Digitalisation to the Virtual Reconstruction and Sound Simulation of Ancient Musical Instruments: Methods, Results, Perspectives, which will take place on Thursday, 25th February. This webinar aims to discuss how digital technologies based on 3D modelling and sound simulation can expand our knowledge of ancient musical instruments.
Session: 146 – Date: Friday 28 August
Materializing Sound in Antiquity:
Materials as a Bodily and Symbolic Component of Sound Objects
Organisers: Arnaud Saura-Ziegelmeyer (France) and Daniel Sánchez Muñoz (Spain)
Discussant: Stefan Hagel (Austria)
Books by Angela Bellia
https://www.libraweb.net/riviste.php?chiave=147
Angela Bellia
Editorial
Agata M. C. Calabrese
Sensory Dimensions of Mortuary Rituals in Early Bronze Age Ugarit
DOI: 10.19272/202414701002
Fabienne Colas-Rannou
Dance Movements in the Lycian Funerary Context
DOI: 10.19272/202414701003
María Isabel Rodríguez López
Música y poesía en la iconografía de los vasos griegos: a propósito de un estamno conservado en el Museo Arqueológico Nacional de Madrid (inv. n. 11009)
DOI: 10.19272/202414701004
Valeria Rita Guarnera
Breve nota su alcune raffigurazioni musicali da Siracusa
DOI: 10.19272/202414701005
Patrizia Marra
Exhibiting the Unedited: The Virtuous Example of Per gli dei e per gli Uomini. Musica e danza nell’antichità at the National Archaeological Museum of Reggio Calabria
DOI: 10.19272/202414701006
Miriam Bueno Guardia
Acrobatic Dance and Processions in the Egyptian New Kingdom: The Beautiful Feast of the Valley and the Opet Festival
DOI: 10.19272/202414701007
Lidiane C. Carderaro dos Santos
The Interplay between Music and Mythology in the Iconography of Greek Vases: Representations of Mythological Figures with Musical Attributes
DOI: 10.19272/202414701008
Jean-Pierre Rossie
Sound Toys in North African and Saharan Children’s Toy and Play Cultures
DOI: 10.19272/202414701009
La serie di incontri Archeologia della performance musicale e della danza a cura di Angela Bellia, si inserisce tra le attività programmate del progetto di ricerca AURAL e si propone di esplorare le diverse occasioni del ‘fare musica’ nell’antichità e di comprendere come il movimento corporeo fosse strettamente legato alla sfera sacra e rituale, nel cui ambito la musica e la danza svolgevano un ruolo di interazione tra gli esseri umani, l’ambiente e lo spazio.
Il primo incontro si terrà lunedì 15 aprile alle 16:00 a Napoli, presso la sede centrale del nostro Istituto (via Cardinale Guglielmo Sanfelice 8) in forma ibrida. Sarà l’occasione per presentare il volume “Per gli dei e per gli uomini. Musica e danza del mondo antico” a cura di Carmelo Malacrino, Angela Bellia e Patrizia Marra, pubblicato dalla Sagep Editori di Genova.
Per ulteriori dettagli sulla serie di eventi, per consultare il programma completo o seguire l’evento online, vi invitiamo a visitare la pagina web: https://www.ispc.cnr.it/it_it/eventienews/aural-archeologia-della-performance-musicale-e-della-danza/
https://www.sagep.it/prodotto/per-gli-dei-e-per-gli-uomini/
Carmelo Malacrino
Presentazione
Carmelo Malacrino, Angela Bellia, Patrizia Marra
Introduzione all’esposizione
Saggi
Valeria Parisi
Suoni dalla Magna Grecia. Tradizioni, soggetti, oggetti e suggestioni a tema musicale in alcune vicende
coloniali
Massimo Raffa
La mousike nell’educazione del cittadino
Mariella De Simone
La musica nel rituale metroaco: un paradigma interculturale
Tosca A.C. Lynch
Harmonic Resonances and Beautiful Proportions: Vitruvius’ Theatre Resonators, Ancient Harmonic
Theory, and the Imperial Musical Documents
Angela Bellia
Dalla musica nelle riattualizzazioni drammatiche alle danze itifalliche: funzioni rituali e contesti delle
terrecotte “teatrali” magnogreche e siceliote
Aura Piccioni
“ Melpete ton Dionyson / barybromon hypo tympanon” (Eur., Bac., 155-156): strumenti musicali a percussione
e riti in Magna Grecia
Elvia Giudice
Gamos e musica su due crateri del Persephoneion di Locri Epizefiri
Elisa Marroni
Suggestioni musicali. Suono e danza nei rituali di transizione dei pinakes locresi
Carmela Roscino
Musica ed eros: la dimensione sonora nelle scene erotico-nuziali della ceramica a figure rosse della
Magna Grecia
Ada Caruso
Una inedita danzatrice ammantata priva di contesto: confronti tipologici e spunti esegetici
Angelo Bottini, Angela Bellia
Suoni e danza per l’Aldilà
Giuseppina Gadaleta
Corde, suoni e ritmo a colori nello spazio del sepolcro
Simona Rafanelli
Etruschi. Una vita “in musica”
Mirco Mungari
Tintinnabula fallici
Carla Sfameni
Pro philosopho cantor. Musica e danza nei mosaici delle residenze tardoantiche, da Piazza Armerina
a Ravenna e oltre
Patrizia Marra
L’archeologia al cinema. Musica e danza del mondo greco-romano nei film muti italiani
Le opere in mostra
Schede di Angela Bellia, Daniela Costanzo, Elvia Giudice, Giada Giudice, Giuseppina Gadaleta, Maria Domenica Lo Faro, Carmelo Malacrino, Alessia Mancuso, Angela Maria Manenti, Patrizia Marra, Giuseppina Monterosso, Agostina Musumeci, Anna Romeo, Carmela Roscino
Tra musica e danza
Strumenti musicali e oggetti sonori
La musica nei culti
Danza e rituali
I suoni di Apollo e l’euforia di Dioniso
Il banchetto
La vita quotidiana
Le rappresentazioni
Acknowledgements 9
Abbreviations 11
Contributors 13
Erica Angliker, Introduction. Soundscape and Landscape at Panhellenic Greek Sanctuaries 15
Fábio Vergara Cerqueira, The Aulos and the Salpinx in the Soundscape of Olympia 21
Erica Angliker, The Soundscape of Dodona : Exploring the Many Functions of Sound 39
Pamela Jordan, Sounding the Mountain : Analyzing the Soundscape of Mount Lykaion’s Sanctuary to Zeus 51
Angela Bellia, Soundscape and Landscape in the Sacred Spaces : The Case of the Heraia in Magna Graecia 67
Lucio Maria Valletta, « She is Actually the One Who Heals Our Strains » (Alcm., fr. 3, 88-89 Calame). Craftsmanship, Apprenticeship and Ritual Function of Spartan Choral Performances 81
Angela Bellia, Afterword : Towards a Soundscape Archaeology 101
Index of Places 107
Subject Index 109
The Journal welcomes research on the broadly defined Mediterranean region and from other areas of the world, such as North Europe, Central and South America, Africa, Southeast Asia, and the Pacific Rim. Contributions pertaining to different periods are welcome. Cross-disciplinary and multi-disciplinary approaches would be particularly appreciated.
The preferred language for the contributions is English, but other languages (including German, French, Italian and Spanish) are acceptable.
At this stage, the goal for the Journal is to publish one issue per year with 5-6 contributions, with a total of ca. 200 pp. The preferred length for the contributions is 8,000 words. The format of the Journal will be 21, 5x31cm. The Journal will be published in both print and digital formats, the former in black and white and the latter in colour. The digital issue will be available on www.libraweb.net. Manuscripts should be sent to angbellia@gmail.com and will be subject to peer review by two anonymous readers. The deadline for the submission of manuscripts for the first issue is 30 November 2019.
Link: https://www.libraweb.net/promoriv.php?chiave=147
This volume started life as the proceedings of the first colloquium of the Archaeomusicology Interest Group (AMIG), within the 119th Annual Meeting of the Archaeological Institute of America (AIA), held in Boston, Massachusetts, January 4-7, 2018. Contributors have debated how each instrument is not an isolated unit, but a component of musical performance in cult considered as an offering to the divinity within the framework of the ritual ceremony. The aim of the conference, and its proceedings, is not only to enhance our knowledge of instruments as votive gifts by exploring and discussing the many different motives for the dedication of them to the gods, but also to study musical performances in ancient cultures as an essential component of worship and ritual. The practice of dedicating musical instruments to the gods in the ancient world - along with figurines of instruments and texts of song - is well attested by a variety of sources, temple-accounts, and the discovery during excavations of the instruments themselves, which often bear votive inscriptions. Worshippers and musicians tried to give a more lasting effect to the musical performance by dedicating instruments in honour of a god or a goddess, in the framework of the ritual ceremony.
Questo volume contiene gli Atti del primo convegno dell''Archaeomusicology Interest Group' (AMIG), nell'ambito del 119° incontro annuale dell''Archaeological Institute of America' (AIA), tenutosi a Boston, Massachusetts, dal 4 al 7 gennaio 2018. Gli autori dei contributi hanno discusso su come ogni strumento non sia un'unità isolata, ma una componente della performance musicale all'interno del culto, considerata essa stessa come un'offerta alla divinità nell'ambito della cerimonia rituale. Lo scopo della conferenza, e dei suoi Atti, non è solo quello di migliorare la nostra conoscenza degli strumenti come doni votivi, esplorando e discutendo i molti, diversi motivi per cui essi vengono dedicati agli dei, ma anche di studiare gli spettacoli musicali nelle culture antiche come una componente essenziale del culto e del rituale. La pratica di dedicare strumenti musicali agli dei nel mondo antico - insieme a figurine di strumenti e testi di canti - è ben attestata da una varietà di fonti, resoconti di templi e dalla scoperta degli strumenti stessi, spesso con iscrizioni votive, durante gli scavi. Fedeli e musicisti hanno cercato di dare un effetto più duraturo alla performance musicale dedicando gli strumenti in onore di un dio o di una dea, nel quadro della cerimonia rituale.
Contents: Acknowledgements. Abbreviations. Contributors. Sheramy D. Bundrick, Introduction; Erica Angliker, Musical Instruments and the Festivals of Apollo: A Study of the Auloi Dedications in the Sanctuary of Delos; Angeliki Liveri, Musical Instruments and their Miniature Models as Votive Offerings to Female Deities in Sanctuaries of Ancient Greece; Jenny Högström Berntson, Erika Lindgren Liljenstolpe, On the Efficacy of Aulos Playing in Greek Cult: Highlighting the Kokkinovrysi Votive Groups; Eleonora Colangelo, «This Rhoptron I will Never Touch Again», or When Women in Transition Consecrated Musical Instruments; Arnaud Saura-Ziegelmeyer, Inside and Outside the Tomb: The Isiac Sistrum as Testimony of Worshippers' Beliefs; Mirco Mungari, Isiac Sistra in Pompeii: Ritual Objects, Status Markers, Soundtools?; Angela Bellia, Afterword: Musical Instruments as Votive Gifts: Towards an Archaeology of Musical Performances. Index of Places. Subject Index.
Review: https://thevotivesproject.org/2020/05/08/musical-instruments/?fbclid=IwAR2BCkcasBDTPGHo6Kh8JDy0Kc2IY5bwavkPC5qrUPw6ksZxuRi4M7un0j0
This seminar is part of the research project ERC (European Research Council) Advanced Grant Locus Ludi. The Cultural Fabric of Play and Games in Classical Antiquity (Grant n° 741520).
comunicare anche attraverso gli strumenti e l e applicazioni per l ’interazione con il mondo virtuale. Si esplorerà come l o sviluppo di strumenti i nterattivi finalizzati a coinvolgere i visitatori come “soundwalker” di ricostruzioni virtuali di siti
archeologici o luoghi di interesse storico-culturale e architettonico e del l oro “historical soundscape” possa aprire
nuove prospettive di ricerca.
Webinar SONIC HERITAGE: Interazioni sonore e multisensoriali nella Realtà Virtuale Immersiva e nel Patrimonio culturale curato da Angela Bellia ed Eva Pietroni, che si svolto all'Istituto di Scienze del Patrimonio Culturale (ISPC) del Consiglio Nazionale delle Ricerche (CNR) il 3 e 4 marzo 2021.
These are the topics of the webinar From the Digitalisation to the Virtual Reconstruction and Sound Simulation of Ancient Musical Instruments: Methods, Results, Perspectives, which will take place on Thursday, 25th February. This webinar aims to discuss how digital technologies based on 3D modelling and sound simulation can expand our knowledge of ancient musical instruments.
Session: 146 – Date: Friday 28 August
Materializing Sound in Antiquity:
Materials as a Bodily and Symbolic Component of Sound Objects
Organisers: Arnaud Saura-Ziegelmeyer (France) and Daniel Sánchez Muñoz (Spain)
Discussant: Stefan Hagel (Austria)
https://www.libraweb.net/riviste.php?chiave=147
Angela Bellia
Editorial
Agata M. C. Calabrese
Sensory Dimensions of Mortuary Rituals in Early Bronze Age Ugarit
DOI: 10.19272/202414701002
Fabienne Colas-Rannou
Dance Movements in the Lycian Funerary Context
DOI: 10.19272/202414701003
María Isabel Rodríguez López
Música y poesía en la iconografía de los vasos griegos: a propósito de un estamno conservado en el Museo Arqueológico Nacional de Madrid (inv. n. 11009)
DOI: 10.19272/202414701004
Valeria Rita Guarnera
Breve nota su alcune raffigurazioni musicali da Siracusa
DOI: 10.19272/202414701005
Patrizia Marra
Exhibiting the Unedited: The Virtuous Example of Per gli dei e per gli Uomini. Musica e danza nell’antichità at the National Archaeological Museum of Reggio Calabria
DOI: 10.19272/202414701006
Miriam Bueno Guardia
Acrobatic Dance and Processions in the Egyptian New Kingdom: The Beautiful Feast of the Valley and the Opet Festival
DOI: 10.19272/202414701007
Lidiane C. Carderaro dos Santos
The Interplay between Music and Mythology in the Iconography of Greek Vases: Representations of Mythological Figures with Musical Attributes
DOI: 10.19272/202414701008
Jean-Pierre Rossie
Sound Toys in North African and Saharan Children’s Toy and Play Cultures
DOI: 10.19272/202414701009
La serie di incontri Archeologia della performance musicale e della danza a cura di Angela Bellia, si inserisce tra le attività programmate del progetto di ricerca AURAL e si propone di esplorare le diverse occasioni del ‘fare musica’ nell’antichità e di comprendere come il movimento corporeo fosse strettamente legato alla sfera sacra e rituale, nel cui ambito la musica e la danza svolgevano un ruolo di interazione tra gli esseri umani, l’ambiente e lo spazio.
Il primo incontro si terrà lunedì 15 aprile alle 16:00 a Napoli, presso la sede centrale del nostro Istituto (via Cardinale Guglielmo Sanfelice 8) in forma ibrida. Sarà l’occasione per presentare il volume “Per gli dei e per gli uomini. Musica e danza del mondo antico” a cura di Carmelo Malacrino, Angela Bellia e Patrizia Marra, pubblicato dalla Sagep Editori di Genova.
Per ulteriori dettagli sulla serie di eventi, per consultare il programma completo o seguire l’evento online, vi invitiamo a visitare la pagina web: https://www.ispc.cnr.it/it_it/eventienews/aural-archeologia-della-performance-musicale-e-della-danza/
https://www.sagep.it/prodotto/per-gli-dei-e-per-gli-uomini/
Carmelo Malacrino
Presentazione
Carmelo Malacrino, Angela Bellia, Patrizia Marra
Introduzione all’esposizione
Saggi
Valeria Parisi
Suoni dalla Magna Grecia. Tradizioni, soggetti, oggetti e suggestioni a tema musicale in alcune vicende
coloniali
Massimo Raffa
La mousike nell’educazione del cittadino
Mariella De Simone
La musica nel rituale metroaco: un paradigma interculturale
Tosca A.C. Lynch
Harmonic Resonances and Beautiful Proportions: Vitruvius’ Theatre Resonators, Ancient Harmonic
Theory, and the Imperial Musical Documents
Angela Bellia
Dalla musica nelle riattualizzazioni drammatiche alle danze itifalliche: funzioni rituali e contesti delle
terrecotte “teatrali” magnogreche e siceliote
Aura Piccioni
“ Melpete ton Dionyson / barybromon hypo tympanon” (Eur., Bac., 155-156): strumenti musicali a percussione
e riti in Magna Grecia
Elvia Giudice
Gamos e musica su due crateri del Persephoneion di Locri Epizefiri
Elisa Marroni
Suggestioni musicali. Suono e danza nei rituali di transizione dei pinakes locresi
Carmela Roscino
Musica ed eros: la dimensione sonora nelle scene erotico-nuziali della ceramica a figure rosse della
Magna Grecia
Ada Caruso
Una inedita danzatrice ammantata priva di contesto: confronti tipologici e spunti esegetici
Angelo Bottini, Angela Bellia
Suoni e danza per l’Aldilà
Giuseppina Gadaleta
Corde, suoni e ritmo a colori nello spazio del sepolcro
Simona Rafanelli
Etruschi. Una vita “in musica”
Mirco Mungari
Tintinnabula fallici
Carla Sfameni
Pro philosopho cantor. Musica e danza nei mosaici delle residenze tardoantiche, da Piazza Armerina
a Ravenna e oltre
Patrizia Marra
L’archeologia al cinema. Musica e danza del mondo greco-romano nei film muti italiani
Le opere in mostra
Schede di Angela Bellia, Daniela Costanzo, Elvia Giudice, Giada Giudice, Giuseppina Gadaleta, Maria Domenica Lo Faro, Carmelo Malacrino, Alessia Mancuso, Angela Maria Manenti, Patrizia Marra, Giuseppina Monterosso, Agostina Musumeci, Anna Romeo, Carmela Roscino
Tra musica e danza
Strumenti musicali e oggetti sonori
La musica nei culti
Danza e rituali
I suoni di Apollo e l’euforia di Dioniso
Il banchetto
La vita quotidiana
Le rappresentazioni
Acknowledgements 9
Abbreviations 11
Contributors 13
Erica Angliker, Introduction. Soundscape and Landscape at Panhellenic Greek Sanctuaries 15
Fábio Vergara Cerqueira, The Aulos and the Salpinx in the Soundscape of Olympia 21
Erica Angliker, The Soundscape of Dodona : Exploring the Many Functions of Sound 39
Pamela Jordan, Sounding the Mountain : Analyzing the Soundscape of Mount Lykaion’s Sanctuary to Zeus 51
Angela Bellia, Soundscape and Landscape in the Sacred Spaces : The Case of the Heraia in Magna Graecia 67
Lucio Maria Valletta, « She is Actually the One Who Heals Our Strains » (Alcm., fr. 3, 88-89 Calame). Craftsmanship, Apprenticeship and Ritual Function of Spartan Choral Performances 81
Angela Bellia, Afterword : Towards a Soundscape Archaeology 101
Index of Places 107
Subject Index 109
The Journal welcomes research on the broadly defined Mediterranean region and from other areas of the world, such as North Europe, Central and South America, Africa, Southeast Asia, and the Pacific Rim. Contributions pertaining to different periods are welcome. Cross-disciplinary and multi-disciplinary approaches would be particularly appreciated.
The preferred language for the contributions is English, but other languages (including German, French, Italian and Spanish) are acceptable.
At this stage, the goal for the Journal is to publish one issue per year with 5-6 contributions, with a total of ca. 200 pp. The preferred length for the contributions is 8,000 words. The format of the Journal will be 21, 5x31cm. The Journal will be published in both print and digital formats, the former in black and white and the latter in colour. The digital issue will be available on www.libraweb.net. Manuscripts should be sent to angbellia@gmail.com and will be subject to peer review by two anonymous readers. The deadline for the submission of manuscripts for the first issue is 30 November 2019.
Link: https://www.libraweb.net/promoriv.php?chiave=147
This volume started life as the proceedings of the first colloquium of the Archaeomusicology Interest Group (AMIG), within the 119th Annual Meeting of the Archaeological Institute of America (AIA), held in Boston, Massachusetts, January 4-7, 2018. Contributors have debated how each instrument is not an isolated unit, but a component of musical performance in cult considered as an offering to the divinity within the framework of the ritual ceremony. The aim of the conference, and its proceedings, is not only to enhance our knowledge of instruments as votive gifts by exploring and discussing the many different motives for the dedication of them to the gods, but also to study musical performances in ancient cultures as an essential component of worship and ritual. The practice of dedicating musical instruments to the gods in the ancient world - along with figurines of instruments and texts of song - is well attested by a variety of sources, temple-accounts, and the discovery during excavations of the instruments themselves, which often bear votive inscriptions. Worshippers and musicians tried to give a more lasting effect to the musical performance by dedicating instruments in honour of a god or a goddess, in the framework of the ritual ceremony.
Questo volume contiene gli Atti del primo convegno dell''Archaeomusicology Interest Group' (AMIG), nell'ambito del 119° incontro annuale dell''Archaeological Institute of America' (AIA), tenutosi a Boston, Massachusetts, dal 4 al 7 gennaio 2018. Gli autori dei contributi hanno discusso su come ogni strumento non sia un'unità isolata, ma una componente della performance musicale all'interno del culto, considerata essa stessa come un'offerta alla divinità nell'ambito della cerimonia rituale. Lo scopo della conferenza, e dei suoi Atti, non è solo quello di migliorare la nostra conoscenza degli strumenti come doni votivi, esplorando e discutendo i molti, diversi motivi per cui essi vengono dedicati agli dei, ma anche di studiare gli spettacoli musicali nelle culture antiche come una componente essenziale del culto e del rituale. La pratica di dedicare strumenti musicali agli dei nel mondo antico - insieme a figurine di strumenti e testi di canti - è ben attestata da una varietà di fonti, resoconti di templi e dalla scoperta degli strumenti stessi, spesso con iscrizioni votive, durante gli scavi. Fedeli e musicisti hanno cercato di dare un effetto più duraturo alla performance musicale dedicando gli strumenti in onore di un dio o di una dea, nel quadro della cerimonia rituale.
Contents: Acknowledgements. Abbreviations. Contributors. Sheramy D. Bundrick, Introduction; Erica Angliker, Musical Instruments and the Festivals of Apollo: A Study of the Auloi Dedications in the Sanctuary of Delos; Angeliki Liveri, Musical Instruments and their Miniature Models as Votive Offerings to Female Deities in Sanctuaries of Ancient Greece; Jenny Högström Berntson, Erika Lindgren Liljenstolpe, On the Efficacy of Aulos Playing in Greek Cult: Highlighting the Kokkinovrysi Votive Groups; Eleonora Colangelo, «This Rhoptron I will Never Touch Again», or When Women in Transition Consecrated Musical Instruments; Arnaud Saura-Ziegelmeyer, Inside and Outside the Tomb: The Isiac Sistrum as Testimony of Worshippers' Beliefs; Mirco Mungari, Isiac Sistra in Pompeii: Ritual Objects, Status Markers, Soundtools?; Angela Bellia, Afterword: Musical Instruments as Votive Gifts: Towards an Archaeology of Musical Performances. Index of Places. Subject Index.
Review: https://thevotivesproject.org/2020/05/08/musical-instruments/?fbclid=IwAR2BCkcasBDTPGHo6Kh8JDy0Kc2IY5bwavkPC5qrUPw6ksZxuRi4M7un0j0
Sommario: Angela Bellia, Antonio De Siena, Giorgio Gruppioni, Presentazione. Studio dei resti ossei e degli strumenti musicali contenuti nei corredi funerari. Analisi antropologica: Antonino Vazzana, Giuditta Franceschini, Maria Cristina Serrangeli, Mirko Traversari, Elisabetta Cilli, Gabriele Monetti, Stefano Benazzi, Giorgio Gruppioni, Analisi antropologiche su alcuni inumati provenienti dalle necropoli metapontine: tombe 18, 336 e 415. Il caso del cosiddetto "musicista acromegalico". Il contesto archeologico delle tombe di 'musicisti': Giuseppe Lepore, Il contesto archeologico: aspetti simbolici e comunicazione per immaginii; Angela Bellia, Tombe di 'musicisti' in Magna Grecia: il caso di Metaponto. Tavole fotografiche. Elenco dei reperti. Indice dei nomi e delle cose notevoli.
Reviewed by Veronica Ikeshoji-Orlati, National Gallery of Art (v-ikeshoji-orlati@nga.gov)
http://bmcr.brynmawr.edu/2019/2019-02-04.html#t4
Reviewed by Sylvain Perrot, CNRS, UMR 7044 Archimède – Strasbourg
http://www.antiquiteclassique.be/
http://www.libraweb.net/result1.php?dettagliononpdf=1&chiave=2914&valore=sku&name=Musica.jpg&h=860&w=600
TELESTES Studi e ricerche di archeologia musicale nel Mediterraneo. Diretta da Angela Bellia
Cm. 17,5 x 25, bross.
http://www.libraweb.net/collane.php?chiave=TELESTES&valore=collana&h=860&w=600
Istituti editoriali e poligrafici internazionali, Pisa • Roma
La musica, insieme con la lingua, la letteratura, i monumenti, le istituzioni e il paesaggio, è parte di un patrimonio in cui è possibile trovare tracce del nostro passato così imponenti da obbligarci a studiarlo per capire una parte importante di noi stessi. Così, se la musica è una delle componenti della nostra identità sociale e culturale di «marca occidentale», lo studio della storia musicale dell'Occidente greco risulta di grande interesse perché le forti esperienze religiose, etiche e artistiche della Megale Hellas e della Sikelia si sono riflesse in modo significativo nella cultura, nell'arte e nella memoria e sono pervenute sino a noi. La riflessione sulla musica come fattore di forte coesione culturale e religiosa e di rete di scambi delle popolazioni greche d'Occidente attende ancora uno studio sistematico e complessivo che aiuterebbe non solo a comprendere la rielaborazione della funzione della musica e del far musica nelle singole poleis, ma anche a porre la questione della musica come mezzo del dialogo interculturale fra le comunità greche e gli ambienti indigeni. Le pratiche musicali dei Greci d'Occidente erano legate infatti al contesto geografico e ai particolari culti collettivi, domestici e funerari, ma la musica era anche intrecciata con la costruzione delle identità culturali delle varie comunità e intimamente legata alla loro struttura sociale. Dallo studio che qui si presenta, miscellaneo, emergono aspetti significativi che aprono nuove prospettive allo studio della musica nell'antichità. Da un lato le fonti e la documentazione archeologica forniscono lo spunto per riflettere sull'apporto della musica nel processo di coesione sociale delle singole poleis e nel dialogo interetnico con le locali comunità anelleniche, dall'altro si indaga quanto le pratiche musicali nelle colonie risentano di quelle delle città d'origine o innovino rispetto alle poleis di provenienza.
Sommario: Abbreviazioni. Angela Bellia, Uno sguardo sulla musica nei culti e nei riti della Magna Grecia e della Sicilia. Poeti e musici: Claude Calame, La tragédie chorale et le nome citharodique: de la Grande Grèce à Athènes; Marco Ercoles, Stesicoro e i culti di Imera; Antonietta Provenza, Pitagora e le Muse. Per una lettura di Timeo, F 131 FGrHist; Andrew Barker, Empedocles Mousikos; Massimo Raffa, Acustica e divulgazione in Archita di Taranto: il fr. 1 Huffman come "Protrettico alla scienza". Strumenti musicali: Clemente Marconi, Two New Aulos Fragments from Selinunte: Cult, Music and Spectacle in the Main Urban Sanctuary of a Greek Colony in the West; Stelios Psaroudak?s, The Aulos of Poseid?nia; Chiara Michelini, Auloi da Entella: note di archeologia musicale; Maria Clara Martinelli, Uno strumento musicale in bronzo nelle collezioni del Museo Archeologico "Luigi Bernabò Brea" a Lipari; Giovanni Distefano, Camarina. La tomba 446 con crepitacoli della necropoli arcaica. Musica e rito: Monica de Cesare, Musica e rito nei contesti anellenici della Sicilia di VI-V secolo a.C.; Claudia Lupo, Aspetti della pratica musicale pitagorica a Crotone e a Taranto; Chiara Terranova, Funzione rituale dei tympana nei culti femminili della Sicilia antica; Angeliki Liveri, Music, Singing and Dancing at Wedding Rites in Megale Hellas; Lucio Melazzo, Music and Phonetics in Magna Graecia; Sebastian Klotz, Mousiké, harmonics and the symmetrical culture of Western Greece. Iconografia: Marina Albertocchi, Musica e danza nell'Occidente greco: figurine fittili di danzatrici di epoca arcaica e classica; Antonella Pautasso, Il suonatore di lyra. Breve nota su alcune statuette siceliote; Lucia Lepore, Dei, Demoni ed Eroi della musica nella cultura figurativa dei Greci d'Occidente; María Isabel Rodríguez López, Música y matrimonio: iconografía y fuentes escritas; Elisa Chiara Portale, Musica e danza nell'iconografia funeraria centuripina; Giulia Corrente, Aspetti della 'nuova musica' nelle raffigurazioni vascolari fliaciche; Daniela Castaldo, Iside sulle sponde del Tevere. Presenze africane nella musica di età romana; Simone Rambaldi, Musica e felicità ultraterrena: considerazioni in margine a un sarcofago romano di Palermo.
http://www.magazine.unibo.it/archivio/2014/06/05/musica-culti-e-riti-nelloccidente-greco""
http://coroplasticstudies.univ-lille3.fr/members_publications.html
http://www.moisasociety.org/de-musicis/musica-culti-e-riti-nelloccidente-greco
Sommario: Introduzione; I. La musica a Locri Epizefirii: il quadro storico: 1. Senocrito e l'armonia locrese; 2. Stesicoro e Locri; 3. Agoni musicali; 4. Il canto delle vergini locresi; 5. Canti popolari locresi. II. La musica nella sfera del sacro: 1. Il santuario di Persefone in contrada Mannella; 2. L'area sacra di Afrodite in contrada Marasà-Centocamere; 3. Culti domestici nell'abitato in contrada Centocamere; 4. Il santuario rupestre di Grotta Caruso. III. La musica nella sfera funeraria: 1. La necropoli in contrada Lucifero; IV. Conclusioni: 1. Il Pantheon locrese e la musica; 2. La funzione della musica nella società locrese. Appendice I: Per una documentazione della musica a Locri Epizefirii: le fonti scritte. Appendice II: Le raffigurazioni musicali nel Trono Ludovisi e nel Trono di Boston e la problematica relativa. Bibliografia: Abbreviazioni. Testi. Studi. Donatella Restani, Postfazione. Indice dei nomi e delle cose notevoli.
http://www.libraweb.net/result1.php?dettagliononpdf=1&chiave=2768&valore=sku&name=Locresi.jpg&h=857&w=600""
http://www.magazine.unibo.it/archivio/2013/11/29/il_canto_delle_vergini_locresi
http://www.malgradotuttoweb.it/sito2013/home/archivio/2409-qil-canto-delle-vergini-locresiq.html
Coniugando i metodi della musicologia e dell’archeologia, il loro studio permette di gettare luce sulla recezione di elementi della cultura e della musica presso le elites greche d’Occidente per le quali essa svolgeva un ruolo paideutico e politico, oltre che sull’adozione da parte delle aristocrazie indigene dell’Italia meridionale di modelli ellenici. Inoltre, l’indagine consente di individuare alcuni aspetti relativi alla musica non solo presso le popolazioni italiote e siceliote ma anche, per quanto riguarda la Sicilia, nell’ambiente punico contiguo, talora evidenziando una stretta connessione con la vita quotidiana e con le attività connesse al lavoro.
http://www.lim.it/
Fin dai primi anni di attività creativa il compositore tese al rinnovamento estetico del melodramma e ad elaborare uno stile in cui vi fosse un assoluto equilibrio tra parola e musica. Frutto di una sintesi profonda della tradizione musicale italiana e di un rifiuto del teatro musicale tardoromantico e verista, questa sua concezione drammaturgica trova la sua più alta realizzazione nelle due opere Pantea e L’amore di Galatea con le quali il musicista sentiva di contribuire al rinnovamento del teatro musicale e a proiettarlo verso un progresso necessario.
Il tratto che accomuna le opere di Michele Lizzi è la rivisitazione del mito e l’evocazione musicale di atmosfere e paesaggi della Grecia antica, nonché la ricerca di suggestioni sonore di un passato mitico.
The MSCA Global Postdoctoral Fellowship is a 3-year fellowship that facilitates research mobility between Europe and third countries with a return phase of 1 year at a European Institution. Do you have excellent research ideas with potential global impact? Then an MSCA Postdoctoral Fellowship can be a path for supporting your career development. Join this grant writing session and meet successful applicants, evaluators, and research officers to learn how to write a competitive MSCA grant.
💡 Irene Castellano Pellicena from the Marie Curie Alumni Association Ireland Chapter & Health Research Board (HRB)
💡 Dario Pellizzon from Università Ca' Foscari Venezia
💡 Angela Bellia from CNR ISPC - Institute of Heritage Science
💡 Asunción López-Varela Azcárate from Universidad Complutense de Madrid
💡 with session organiser Brian Cahill from TIB – Leibniz-Informationszentrum Technik und Naturwissenschaften
Discover the full #MCAAConf2024 agenda on the conference website: https://www.mariecuriealumni.eu/.../2024-conference-agenda
We celebrated the ten year anniversary of the Marie Curie Alumni Association and we discussed issues ranging from career development and academic life to collaboration across sectors and disciplines. We couldn't be more excited to build the next decade of the association.
The MSCA Global Postdoctoral Fellowship is a 3-year fellowship that facilitates research mobility between Europe and third countries with a return phase of 1 year at a European Institution. Do you have excellent research ideas with potential global impact? Then an MSCA Postdoctoral Fellowship can be a path for supporting your career development. Join this grant writing session and meet successful applicants, evaluators, and research officers to learn how to write a competitive MSCA grant.
💡 Irene Castellano Pellicena from the Marie Curie Alumni Association Ireland Chapter & Health Research Board (HRB)
💡 Dario Pellizzon from Università Ca' Foscari Venezia
💡 Angela Bellia from CNR ISPC - Institute of Heritage Science
💡 Asunción López-Varela Azcárate from Universidad Complutense de Madrid
💡 with session organiser Brian Cahill from TIB – Leibniz-Informationszentrum Technik und Naturwissenschaften
Discover the full #MCAAConf2024 agenda on the conference website: https://www.mariecuriealumni.eu/.../2024-conference-agenda
We celebrated the ten year anniversary of the Marie Curie Alumni Association and we discussed issues ranging from career development and academic life to collaboration across sectors and disciplines. We couldn't be more excited to build the next decade of the association.
Per registrarsi all'evento del 17/11/2022 si deve accedere al seguente link: https://docs.google.com/.../1FAIpQLSeQbUK5sdJAK5.../viewform
(specificare online o in person)
Dopo la registrazione si può accedere online al Workshop collegandosi al seguente link:
https://us02web.zoom.us/j/85875973071
...
Per partecipare il giorno 18/11 al Annual General Meeting di ICoRSA nel pomeriggio 13.30-17.00 si deve registrare al seguente link:
ICoRSA AGM:
https://us02web.zoom.us/.../tZElfuurqzwiHNE91XzTJ
...
e dopo la registrazione riceverà una conferma contenente il link Zoom su come connettersi al meeting.
MasterClass “Writing a MSCA grant proposal” at SYNC2022, on June 20, from 9.00 to 13.00, in the “La Ginestra Room” of the Chemistry Department, Sapienza University of Rome.
The school is dedicated to the preparation of competitive proposals for the European Community funding programs dedicated to young researchers (Marie Skłodowska-Curie actions – MSCA).
The program includes talks by experts in the writing and evaluation of MSCA grant proposals from the Sapienza Offices and the presentations of four researchers who have participated and won a MSCA grant.
Here following is the detailed program:
9.00: Opening
9.10: Angela Bellia (Institute of Heritage Science, National Research Council, Italy)
9.30: Rosa Di Stefano (International Office, Sapienza University)
10.20: Ciro Franco (Head of Research Promotion and Support Services Office, Sapienza University)
11.10 coffee break
11.30: Benedetta Palucci (Giulio Natta Institut (SCITEC) of National Research Council, Milan, Italy)
11.50: Daniele Mazzarella (Van’t Hoff Institute for Molecular Sciences, University of Amsterdam, The Netherlands)
12.10: Luis R. López de León (LEQUIA, Universitat de Girona, Spain)
12.30: Giorgia Greco (Sapienza University, Rome, Italy)
To register to the MasterClass: https://sync2022rome.org/masterclass-writing-a-msca-grant-proposal/?fbclid=IwAR23MDtz0C5q8BLuN8qs-OcJARjuqaH7MEP7r4XN9W0NddmtUyLUmy9qbTg
The event will take place online on 30th of May 2022 and will present the
crucial info about the changes to the programme, the practical aspects on how to write a successful proposal and some of the research lines of the ISPC-CNR supervisors, in order to encourage worldwide researchers to apply for funding.
ISPC-CNR is ready to be your Host Institution!
https://www.eventbrite.it/e/starting-your-career-in-heritage-science-at-ispc-cnr-msca-pf-tickets-332655630947?fbclid=IwAR2XcvtzMqXdboelt30pt4XoCj_hV62bd-27-_jmHpEqLXli_GTDshZJWVM
About this event
Training and Mobility can be the most enriching and important aspects of a researcher career. The Marie Skłodowska-Curie Actions could support you throughout this step!
30Th May 2022, from 11:00 am to 13:00 am CEST
The webinar “Starting your career in Heritage Science at ISPC-CNR: Marie Skłodovska-Curie Actions, Post –Doctoral Fellowships”, taking place online on the 30th of May 2022 at 11 AM, is addressed to postdoctoral researchers of any nationality who are interested in the important chances offered by the 2022 call of MSCA-PF under the new Horizon Europe programme.
If you are planning to apply to this programme within the field of Cultural Heritage, the Institute of Heritage Science is the ideal host institution for this stage of your career development.
Thanks to the participation of some of the main experts on project management, open science, gender analysis and the ISPC-CNR supervisors, the event will facilitate understanding the new call, help to implement your project proposal idea, providing you with all the crucial information necessary to apply for funding and to learn how your ideas will achieve impact.
The webinar allows researchers in the field of Cultural Heritage to get to know more about one of the most interesting training opportunities offered by the main European research programme, Horizon Europe, as well as several outstanding research lines of our institute, including digital application in archaeology and cultural heritage and cuneiform texts of the Bronze Age .
Click on the link below to find out more about the agenda of the event!
https://drive.google.com/file/d/1gj4NYNQZZn7t4OSc4ZBkxsR95BECoAeP/view?usp=sharing
Save the date!
After you have registered by EventBrite, one day before the event, you will receive a confirmation email with a unique link to join the session on Zoom.
La giornata sarà l’occasione per riflettere sull’apporto fornito all’avanzamento scientifico e all’affermazione del ruolo femminile nello spazio europeo della ricerca anche grazie alle ricercatrici italiane vincitrici di progetti europei del pilastro Excellent Science.
Dettagli
https://drive.google.com/file/d/1ihlc0RyZxRYyHZ-yOjQQw-zmthCqkfyU/view?fbclid=IwAR1i-YOwpZ4Oj6ZqiFw7PE6BMWgVy7yMvjm4YmYc2pZsnU05wTZ6Y5EUFqM
Registrazione
https://docs.google.com/forms/d/1cB9mYLzwShc6jRPlg_y_iFfs87U7jpHRyLWMr_supp4/edit?ts=60bfa9a7
In 2021, applications to the Postdoctoral Fellowships should open May 27th and close September 27th (dates still to be officially confirmed). If you’d like to meet the ISPC researchers and the support staff, don’t miss our Infoday “Starting your career in Heritage Science at ISPC-CNR: Marie Skłodovska-Curie Actions”, taking place online on the 4th of June 2021 at 10 AM.
This is the link: https://www.ispc.cnr.it/it_it/2021/05/19/starting-your-career-in-heritage-science-at-cnr-ispc-msca-infoday/?fbclid=IwAR1mlK-6KUOGLE2NEZvYt3mnDAvODWIA3zMTI56v7jFJx0B9l3lwKulIpKo
SHARPER si svolge il 27 novembre 2020, in contemporanea, nelle città di Ancona, Cagliari, Catania, L’Aquila, Macerata, Nuoro, Palermo, Pavia, Perugia, Terni, Torino e Trieste.
https://www.ispc.cnr.it/it_it/2020/11/18/cnr-ispc-on-air-un-talk-sulle-connessioni-e-trasformazioni-culturali-e-tecnologiche-nelle-scienze-del-patrimonio-culturale/?fbclid=IwAR3p7_QqK2XCmsTuGypwffUT95kmDk6cgsKov1bqkn7eGOXLjywYTCzAqJ4
Investire sulla formazione. Puntare sulla ricerca d’eccellenza nell’ambito del patrimonio culturale.
Scommettere sull’attrazione dei cervelli.
26 MAGGIO, DALLE 10:00 ALLE 12:30
L’Istituto di Scienze del Patrimonio Culturale del Consiglio Nazionale delle Ricerche (ISPC-CNR) organizza un
webinar sulle tecniche progettuali vincenti e sulla preparazione di proposte attinenti l’Heritage Science
da presentare al prossimo bando Marie Skłodowska-Curie Individual Fellowships con scadenza il 09 settembre 2020.
L’evento online, grazie anche alla presenza di specialisti dell’innovazione scientifica e della progettazione europea, permetterà ai
ricercatori che intendono indicare l’ISPC-CNR come ente ospitante, di acquisire padronanza sulle caratteristiche principali
del programma, offrendo un’occasione di incontro virtuale con i supervisors dell’Istituto, utile per definire obiettivi di
ricerca, ruoli, risorse e fasi del progetto da presentare in risposta alla call europea.
Tra i temi indicati per questo primo incontro vi sono le linee di ricerca che riguardano lo studio della preistoria e protostoria, la filologia classica, la papirologia ma anche l’applicazione di tecniche
di diagnostica per il restauro ed il telerilevamento per l’archeologia.
Il programma dell'evento è scaricabile qui: https://drive.google.com/file/d/1es8WDybrdpA09_6L8bjoMGwPQBYjm3It/view?usp=sharing[1]
Iscrivetevi gratuitamente all'evento qui:
https://www.eventbrite.it/e/biglietti-marie-skodowska-curie-individual-fellowships-focus-su-ricerca-formazione-e-patrimonio-culturale-104545018966 Dopo l'iscrizione all'evento, Vi verrà inviato il link per partecipare al webinar a partire da lunedì 25 Maggio 2020
Non perdere quest’occasione!
Il team CNR- ISPC
Link: https://www.mariecuriealumni.eu/sites/default/files/mcaa_magazine_january_2020_lr.pdf
https://www.researchitaly.it/en/news/euwiin-awards-bologna-university-researcher-for-the-european-telestes-project/
Angela is an expert researcher with a unique profile and background built on interdisciplinary expertise at the crossroads of archaeomusicology and digital heritage. The Prize ITWIIN 2016 for the most “Exceptionally Creative Woman” is one of the prestigious awards Angela received during her career. Furthermore, Angela has chaired and has been part of various organisations. At present, she is the Chair of the Archaeomusicology Interest Group of the Archaeological Institute of America.
Angela is currently carrying out her research at the National Research Council in Italy (IBAM CNR - Istituto per i Beni Archeologici e Monumentali), devoting her attention towards archaeoacoustics and the archaeology of sound, while using newly developed technologies. The application of such technologies to cultural heritage have led to important changes in the protection and enhancement of monuments and sites across Europe.
Her #MSCA Project Stesichoros will establish a new line of research to complete a study on the acoustics of the linear and non-circular theatra. The overall objective of the project is the assessment and recovery of the lost intangible heritage of cultic theatresʼ acoustics through acoustic reconstruction of these performative spaces of the past. Her project will also aim to verify whether it is possible that these buildings were built in a precise place for their acoustical qualities.
Project name: STESICHOROS – The Archaeology of Sound of the Cultic Theatre in a Greek City in Sicily.
Learn more about Angela and her research:
CORDIS_EU: https://cordis.europa.eu/project/rcn/215036/factsheet/en
LINK: http://archeologos.ibam.cnr.it/stesichoros/
http://www.mi.cnr.it/
http://archeologos.ibam.cnr.it/potenziare-e-valorizzare-la-ricerca-grazie-alle-azioni-msca/?fbclid=IwAR2K1EaxjUgV2ajg9fVBvguMxce98173bveq1M6BEssc-DvsECI5S1KI_18
Le ricerche si collocano in un ambito di studi innovativo che coniuga la documentazione storica a interesse musicologico con la ricerca archeologica e le relative estensioni all’ambito dell’archeologenetica, per mezzo del supporto fornito dal Laboratorio di Antropologia diretto dal Prof. Giorgio Gruppioni con il quale è stato già avviato un rapporto di collaborazione scientifica per lo studio osteologico e la realizzazione di un modello digitale in 3D del frammento di un flauto della tarda Età del Bronzo (ricavato da un osso), oggi conservato presso il Museo Civico “Pippo Rizzo” di Corleone (Palermo).
Il progetto di ricerca prevede l’analisi dei resti ossei rinvenuti nelle seguenti sepolture che si distinguono per la ricchezza del corredo comprendente resti di strumenti musicali, come lire e auloi:
1. Tomba 18. Necropoli di Torre di Mare – Museo Archeologico Nazionale di Metaponto (Matera);
2. Tomba 415. Necropoli in proprietà La Torre – Museo Archeologico Nazionale di Metaponto (Matera);
3. Tomba 336. Necropoli di Pantanello - Museo Archeologico Nazionale di Metaponto (Matera);
4. Tomba 600. Necropoli di Lavello – Museo Archeologico Nazionale del Melfese “Massimo Pallottino” di Melfi (Potenza).
Gli straordinari corredi sono stati individuati nel corso dell’indagine riguardante i materiali di interesse musicale nell’Italia meridionale, oggetto dei progetti di ricerca «Per un repertorio delle raffigurazioni musicali nella coroplastica greca (VI - III sec. a.C.): la Magna Grecia» e «Il canto delle vergini locresi» presso il Dipartimento di Storie e Metodi per la Conservazione dei Beni culturali di Ravenna.
Per l’analisi dei materiali rinvenuti nelle tombe di Metaponto e di Melfi è stato stipulato un accordo con la Soprintendenza della Basilicata finalizzato allo studio osteologico e all’acquisizione in digitale dei resti ossei delle sepolture, nonché degli strumenti musicali o loro parti ivi contenuti.
http://www.bolognatoday.it/cronaca/tomba-musicista-Pantanello-gigante-unibo.html
http://annamariascicolone.blogspot.com/2013/05/dalla-ricerca-la-commovente-storia-di.html
http://annamariascicolone.blogspot.com/2013/08/prosegue-il-progetto-di-ricerca-sul.html"
https://www.academia.edu/9940376/I_rituali_funerari_e_la_musica_nell_Italia_meridionale_nuove_considerazioni_sulla_tomba_del_musicista_nella_necropoli_di_Pantanello_a_Metaponto_V_sec._a.C._c.s
Theme: Choralities: Dance and music from Antiquity
Quinta-feira, dia 05 de dezembro de 2024/ Thursday, December 5th, 2024
10:00 (GMT -3) Conferência 2 [2 p.m. in Italy]
Zoom link: https://us06web.zoom.us/j/87682068644
Museo Archeologico Regionale "Pietro griffo" di Agrigento
Partecipazione gratuita, con prenotazione obbligatoria: https://www.ticketlandia.com/m/event/archeotalk-agrigento
The event will be hybrid and will take place on February 7th from 9:00 AM to 1:30 PM at the Centre national de la recherche scientifique (CNRS), Joseph Aiguier Campus, 31 chemin Joseph Aiguier, Marseille (indication in the file attached) or online.
The event will be hosted at the Models and Simulations for Architecture and Heritage Laboratory of the Centre National
de la Recherche Scientifique (MAP CNRS) and at the Centre Interdisciplinaire de Conservation et de Restauration du Patrimoine (CICRP) in Marseille.
For both in-person and online participation, registration is mandatory and can be fulfilled at the following link until February 3rd: https://forms.office.com/e/uTj0gNBiPK.
After registration, you will receive the connection link in advance of the event.
📅 December 4, 2023
⏰ ️11:00 — 12:00
🖥 Webinar Online
🎶 This webinar highlights a topic highly relevant to the cultural heritage sector: acoustics and the preservation and presentation of historic acoustic spaces. The event is organised by #EuropeanaTech, which is the community of experts, developers, and researchers from the R&D sector within the greater Europeana Network Association.
💁♀️ 💁 Heritage acoustics’ and the preservation of sonic heritage of historic spaces and architectural structures is a growing field of research within cultural heritage. This intangible heritage brings an incredibly valuable level of documentation for heritage sites.
🙋♀️ Angela Bellia will give an overview of how international community has urged the commitment to preserve ancient theatres from the ravages of time and the action of human beings. Disastrous natural events, pollution and/or improper uses of these buildings are progressively damaging these architectural structures and their sonic heritage. Effective preservation planning policy based on the prevention and mitigation of vulnerabilities and dangers is vital, especially in ancient theatres are now used as locations for concerts and modern performances.
🎤🙋♀️ Her presentation “Preserving the Sonic Heritage of Ancient Theatres” will be introduced by Markus, the EuropeanaTech Community Manager. She will present some results which have emerged from the ongoing research project AURAL at the #CNRISPC.
ℹ️ Find out more about the Webinar and the registration here👉 :
https://pro.europeana.eu/event/europeanatech-presents-acoustics-and-sound-in-cultural-heritage?fbclid=IwAR2fnuuqqtbudg_vQScxvjOgrMUwSiT_KvXgoiMbsJIa7J2d7aJADPLkHWs
ℹ️ For further information about EuropeanaTech community 👉 https://pro.europeana.eu/page/europeanatech?fbclid=IwAR2y3dhIxU1gBuavqTDlnXFmQPEGCFvdEW45kO2U4RYLXeUYha0q7Ff6Re4
International Conference celebrating 20 Year of the ICH UNESCO Convention
Rome (Italy), 13-14 November 2023
SESSION 3 – LIVING HERITAGE AND SUSTAINABLE DEVELOPMENT
14/11, from 10.00 to 11.30, Senate of Republic
Coordinator: Mark Thatcher
Professor of International Public Policies, Luiss Guido Carli University of Rome
Speakers
Tullio Scovazzi
Professor of International Law, University of Milan
Kirk Siang Yeo
Senior Director Heritage Policy, National Heritage Board, Singapore
Alessio Re
General Secretary, Santagata Foundation for the Economics of Culture
Angela Bellia
Institute of Heritage Science, National Research Council (ISPC-CNR)
ABSTRACTS
TULLIO SCOVAZZI
- The principle of sustainable development, which originated to address the relationship
between development and the environment, has been transposed to also cover the relationship
between development and culture.
- The right to development must be fulfilled so as to equitably meet the developmental and
cultural needs of present and future generations.
2
- As confirmed by the Convention for the Safeguarding of the Intangible Cultural Heritage
(Paris, 2003), the concept of intangible cultural heritage has a strong social component,
providing a sense of identity and continuity to a bearer community that constantly recreates
and reinterprets it.
- To be sustainable, economic development must ensure that heritage is not denaturalized or
standardized. The bearer community should be the primary beneficiary of benefits, both in
moral and financial terms.
- No international rules so far address the application of intellectual property rights to
intangible cultural heritage. As they are currently understood, such rights could ensure
benefits to the bearer communities. However, they could also denaturalize the heritage and
facilitate its misuse by interested entities that have little or nothing to do with it.
KIRK SIANG YEO
Living Heritage and Sustainable Development: Experiences from Singapore
The Convention for the Safeguarding of the Intangible Cultural Heritage (2003)
acknowledges the importance of intangible cultural heritage as a mainspring of cultural
diversity and a driver for sustainable development, while also contributing to peace and
security.
For Singapore, a highly urbanised city-state with diverse ethnicities and cultural practices,
living heritage serves as an important contributor to sustainable development goals and
fostering social cohesion. The presentation will highlight the experiences and case studies
from Singapore, to illustrate the positive links between living heritage, in supporting
sustainable development outcomes, including food security, health, sustainable livelihoods, as
well as social cohesion and peace.
ALESSIO RE
Nowadays, after a long period of limited attention, there is a wide awareness and literature
presenting culture and creativity, in all their different forms and expressions, as a resource, or
we may say a "capital", for sustainable economic development. Intangible cultural heritage
and its complex web of meanings attached to the living expression of cultural heritage have
assumed a more evident relevance in such processes. Still, many ot the economic related
questions linked to ICH have to be adequately investigated.
3
ANGELA BELLIA
Sonic heritage: sustainable development of acoustic environments as intangible heritage
The development of interactive tools aimed at involving visitors as “soundwalkers” of virtual
reconstructions of archaeological sites and of places of historical-cultural and architectural
interest, as well as of their soundscape, is opening up new research perspectives on the
relationship between sound and multisensory interaction in a virtual and living environment
and its sustainability. Indeed, over the last few years, it has been possible to experience new
opportunities for multisensory design that combine modeling tools and techniques and Virtual
Reality experiences in the sonic heritage field as living heritage in which the acoustic context
can stimulate audience participation as well as the full involvement of the visitor’s perceptual
apparatus.
Therefore, this paper will focus on how the immersive multisensory experience can provide a
deeper knowledge of cultural identities and spaces where sound - as a set of music, voices,
ambient sounds and noises -, is produced and perceived encouraging listeners to actively
engage with their sonic environment. Furthermore, by focusing the investigation on “sonic
heritage”, this paper aims to contextualize and enhance the knowledge of anthropophony,
geophony and biophony in the past and in the present in order to consider them as intangible
heritage to be known, preserved and disseminated
Thanks to the presence of a large group of Sculptures, the main centre of the cult dedicated to the Goddess has been placed at Akrai (Palazzolo Acreide).
It is a rocky shrine on the southern slopes of “Colle Orbo” from which twelve votive niches open up. These niches of different dimensions have relief Sculptures called «Santoni», set out on a 30 metre strip of rock. They date back to a period that goes no further than the century B.C.
In each relief we can see a female figure with a lion on either side of her. It is possible to identify this figure as Cybele because of the presence of typical attributes such as a patera and a tympanon.
The Goddess is sitting on a throne surrounded by smaller figures. In some reliefs we can see corybants, the mythical companions of Cybele, some of which are holding a tympanon. In others we find characters such as Hermes, Attis, Hecate and the Dioscuri. In one relief there appears a male figure holding two torches probably in front of an altar.
The constant portrayal of the tympanon is a reference to the ardent orgiastic atmosphere stirred up by the sound of the musical instrument used for the metroac cult. This sets comparisons with the images of the Great Goddes that are widespread in the Mediterranean and of which the «Santoni» of Akrai are an original proof.
http://www.dismec.unibo.it/Ims_Iconography/homepage2.htm
Il seminario intende verificare se sia possibile ripensare agli eventi sonori (nel senso più ampio) e alle musiche dei popoli antichi coniugando la ricerca storica alle discipline demoetnoantropologiche. La pluridisciplinarità del convegno, che accosta studiosi, provenienti dalle più prestigiose istituzioni universitarie internazionali e nazionali, di antropologia del mondo antico, archeologi, etnomusicologi e storici della musica, si propone, quindi di fornire uno sguardo rinnovato sui suoni eseguiti, ascoltati, descritti, immaginati e simbolicamente rappresentati dai Greci.
La realizzazione dell'incontro, la cui promozione si intende estendere alle maggiori istituzioni culturali e universitarie del territorio nazionale, ha un significato importante per il ruolo che Agrigento svolse, tra il VI e il IV sec. a.C., tra le colonie greche d'Occidente; oggi la città per la sua posizione di centralità geografica e per le testimonianze archeologiche dell'antica Akragas può divenire una sede naturale di dibattito sui temi riguardanti la cultura euro-mediterranea.
Dopo una introduzione storica, gli argomenti trattati durante il convegno esemplificheranno, da diversi punti di vista, come possa essere ampliato il panorama delle fonti antiche sull'orizzonte sonoro e come possa essere riletto il ruolo della musica all'interno delle dinamiche sociali e culturali degli antichi Greci e cosa sia rimasto di quella cultura nella Sicilia di oggi. La Sicilia, infatti, ha mantenuto inalterato un ricco patrimonio che, attraverso le tradizioni popolari, giunge sino a noi offrendoci l'opportunità di dare uno sguardo indietro per capire il presente, ma che al contempo ci fornisce le coordinate per comprendere la forza culturale e mitica del mondo antico.
I fenomeni musicali, i comportamenti ad essi connessi e l'organizzazione formale degli eventi sonori si collocano all'interno di un passato che "non è mai morto" perché la Sicilia si rivela un contenitore inesauribile le cui ricchezze dei secoli trascorsi permeano la cultura odierna.
http://www.parcodeitempli.net/pages/mito-musica-e-rito-nella-sicilia-di-etandagrave-grecaseminario-internazionale-di-archeologia-musicale.html
Università di Bologna – New York University
E-mail: angelabellia1@virgilio.it; angela.bellia@unibo.it
Sessione: Pratiche funerarie
Titolo: Pratiche funerarie e «messaggi» musicali: considerazioni sulle tombe di ‘musicisti’ nell’Italia meridionale (VI-IV sec. a.C.).
La ricerca «strumenti musicali contenuti nei corredi funerari», si colloca in un ambito di studi interdisciplinare che coniuga la documentazione storica a interesse musicologico con la ricerca archeologica. È stato condotto uno studio sulla presenza degli strumenti musicali nelle sepolture di Crotone, di Locri, di Metaponto, di Poseidonia, dell’area Iapigia e di Taranto in relazione al loro contesto di rinvenimento. La significativa diffusione degli strumenti musicali nei corredi funerari per quantità, cronologia e significato, nonché per lo stato di conservazione di alcuni esemplari, ha arricchito notevolmente le testimonianze finora note del mondo antico. Alla luce della ricognizione e delle indagini svolte, le tombe si sono rivelate di straordinario interesse non solo per la peculiarità degli oggetti ricorrenti deposti, ma anche per la presenza di frammenti di carapaci usati come casse di risonanza di strumenti musicali a corde trovati accanto ai resti ossei o sullo scheletro del defunto, talvolta, ancora conservati.
Da un lato l’associazione dello strumento musicale a corde, con un considerevole numero di vasi da simposio nelle sepolture, sottolinea la relazione tra l’esperienza collettiva del canto e della musica con il piacere della convivialità, in molti casi associata alle attività atletiche praticate dalle classi privilegiate, dall’altro è legittimo chiedersi se la deposizione dello strumento musicale risponda ad una precisa ideologia funeraria connessa alla speranza di salvezza promessa dalle dottrine salvifiche. Non sfugge che nell’ambito dei movimenti religiosi diffusi in Magna Grecia alla musica era attribuita la capacità di elevare l’anima del fedele e di portarla fuori dagli Inferi, superando i vincoli della morte. Nella poleis italiote la presenza di circoli orfico-pitagorici, che potevano comprendere gruppi di iniziati, è documentata non solo da tracce riconoscibili nella cultura materiale funeraria ma anche dalle fonti scritte che ricordano come l’ondata religioso-filosofica avesse provocato rivolgimenti politici nel VI-V sec. a.C. e all’inizio del IV. Nell’ambito di tali credenze, che costituivano uno dei canali privilegiati per la diffusione dei modelli greci tra le aristocrazie dominanti, l’adozione di emblemi musicali e di simboli riferibili ad un destino oltremondano di sopravvivenza, tendevano ad una vera e propria eroicizzazione del defunto.
D’altra parte, la presenza dello strumento musicale nelle tombe che richiama l’educazione musicale, potrebbe fornire un preciso riferimento alla presentazione retrospettiva del defunto e la sua appartenenza a un mondo colto e raffinato, con un preciso riferimento al suo ruolo socio-politico e allo status, celebrandone l’areté e la formazione culturale.
Da un lato la musica, che nell’antichità costituiva uno dei piaceri terreni, sembra alludere anche all’idea di felicità e di gioia nell’aldilà, dall’altro la deposizione degli strumenti musicali può essere connessa con l’affermazione della credenza di un legame diretto fra rango sociale e speranza di salvezza, a tutto vantaggio del ruolo delle élites che nelle attività collegate al banchetto terreno vedevano prefigurato il simposio riservato ai Beati.
(Fine VI – inizi III secolo a.C.)
Parigi, (INHA)
Venerdì 24 e sabato 25 marzo 2017
Angela Bellia
Università di Bologna – New York University
E-mail: angelaabellia1@virgilio.it; angela.bellia@unibo.it
Sessione: Pratiche funerarie
Titolo: Pratiche funerarie e «messaggi» musicali: considerazioni sulle tombe di ‘musicisti’ nell’Italia meridionale (VI-IV sec. a.C.).
La ricerca «strumenti musicali contenuti nei corredi funerari», si colloca in un ambito di studi interdisciplinare che coniuga la documentazione storica a interesse musicologico con la ricerca archeologica. È stato condotto uno studio sulla presenza degli strumenti musicali nelle sepolture di Crotone, di Locri, di Metaponto, di Poseidonia, dell’area Iapigia e di Taranto in relazione al loro contesto di rinvenimento. La significativa diffusione degli strumenti musicali nei corredi funerari per quantità, cronologia e significato, nonché per lo stato di conservazione di alcuni esemplari, ha arricchito notevolmente le testimonianze finora note del mondo antico. Alla luce della ricognizione e delle indagini svolte, le tombe si sono rivelate di straordinario interesse non solo per la peculiarità degli oggetti ricorrenti deposti, ma anche per la presenza di frammenti di carapaci usati come casse di risonanza di strumenti musicali a corde trovati accanto ai resti ossei o sullo scheletro del defunto, talvolta, ancora conservati.
Da un lato l’associazione dello strumento musicale a corde, con un considerevole numero di vasi da simposio nelle sepolture, sottolinea la relazione tra l’esperienza collettiva del canto e della musica con il piacere della convivialità, in molti casi associata alle attività atletiche praticate dalle classi privilegiate, dall’altro è legittimo chiedersi se la deposizione dello strumento musicale risponda ad una precisa ideologia funeraria connessa alla speranza di salvezza promessa dalle dottrine salvifiche. Non sfugge che nell’ambito dei movimenti religiosi diffusi in Magna Grecia alla musica era attribuita la capacità di elevare l’anima del fedele e di portarla fuori dagli Inferi, superando i vincoli della morte. Nella poleis italiote la presenza di circoli orfico-pitagorici, che potevano comprendere gruppi di iniziati, è documentata non solo da tracce riconoscibili nella cultura materiale funeraria ma anche dalle fonti scritte che ricordano come l’ondata religioso-filosofica avesse provocato rivolgimenti politici nel VI-V sec. a.C. e all’inizio del IV. Nell’ambito di tali credenze, che costituivano uno dei canali privilegiati per la diffusione dei modelli greci tra le aristocrazie dominanti, l’adozione di emblemi musicali e di simboli riferibili ad un destino oltremondano di sopravvivenza, tendevano ad una vera e propria eroicizzazione del defunto.
D’altra parte, la presenza dello strumento musicale nelle tombe che richiama l’educazione musicale, potrebbe fornire un preciso riferimento alla presentazione retrospettiva del defunto e la sua appartenenza a un mondo colto e raffinato, con un preciso riferimento al suo ruolo socio-politico e allo status, celebrandone l’areté e la formazione culturale.
Da un lato la musica, che nell’antichità costituiva uno dei piaceri terreni, sembra alludere anche all’idea di felicità e di gioia nell’aldilà, dall’altro la deposizione degli strumenti musicali può essere connessa con l’affermazione della credenza di un legame diretto fra rango sociale e speranza di salvezza, a tutto vantaggio del ruolo delle élites che nelle attività collegate al banchetto terreno vedevano prefigurato il simposio riservato ai Beati.
In the summer of 2012, the IFA–NYU Selinunte Mission began to explore the interior of the cella of Temple R. This excavation showed that the Classical and Archaic layers had been sealed by a deep fill of the Hellenistic period and left untouched by earlier archaeological research at the site. Among the discoveries was a series of votive depositions against the walls, dating back to the sixth century BCE. One of the most striking finds among the votive depositions was the discovery of two parts of a bone aulos, which can be dated to 570 BCE. The virtual reconstruction of the aulos found in Temple R at Selinus aims to study the acoustic and morphological attributes of the ancient musical instrument, but also to increase and improve the scientific investigation by overcoming the limitations caused by the instrument’s fragility. Digital technology allowed us to produce a 3D model of the aulos. This digital model has been translated into a three-dimensional artificial copy, using polymer as a material. Our goal is to reconstruct the aulos after analysing its organological characteristic and, if possible, discover its scale. We hope that this new study of the aulos will increase our knowledge of Ancient Greek music.
I pinakes locresi sono tavolette votive in terracotta del VI e V sec. a. C., per la maggior parte rinvenuti in frammenti, nel 1908, da Paolo Orsi, presso l’edicola tesauraria della Mannella a Locri Epizefirii, polis italiota che si distinse per la sua intensa attività cultuale e sacra e la vigile custodia di antichissime tradizioni mitiche e storiche.
Nelle rappresentazioni dei coroplasti, talvolta veri artisti, l’ambiente locrese è individuabile attraverso la configurazione di templi dove, accanto a personaggi, animali e oggetti mitici o cultuali, sono riprodotti carri, arredamenti, vesti e drappi, suppellettili di uso e di cosmesi, e scene musicali e di danza.
Il soggetto figurativo prevalente nell’intero corpus, costituito da 5360 pinakes, è legato al grande ciclo mitologico della vita di Persephone. Le immagini illustrano il racconto del passaggio di Kore in Persephone, dal suo rapimento da parte di Hades, quando ancora vergine mortale, coglieva fiori sul prato, all’arrivo nel mondo sotterraneo, sino alla preparazione delle nozze e alla festa della presentazione dei doni da parte delle varie divinità alla dea seduta sul trono, sposa di Hades e già sovrana nel regno degli Inferi.
Le raffigurazioni dei pinakes sarebbero espressione e concorderebbero con il culto della dea, nella sua duplice qualità di divinità ctonia e di protettrice della fertilità umana, praticato nel santuario della Mannella e dei riti a lei collegati durante i quali, presumibilmente prima delle nozze, le fanciulle dedicavano alla dea le tavolette votive con scene della vita di Persephone, forse considerata metafora di quella delle giovani donne.
Nel complesso ideologico dei pinakes di Locri, la musica sembra avere avuto un ruolo nei riti di passaggio dall’adolescenza all’età adulta nell’ambito di una religiosità fortemente legata alla vita sociale.
Sono stati individuati trentacinque siti di rinvenimento di statuette di suonatori, più frequentemente di suonatrici, singole o in gruppo, di aulos, tympanon, kymbala, kithara, arpa presso le aree sacre urbane ed extraurbane, gli abitati e le necropoli.
La classificazione ha consentito di prendere in considerazione un insieme omogeneo di statuette legate dalla presenza del medesimo strumento musicale e, nell’aspetto formale, da analoghe caratteristiche riconducibili ad un modello comune e di individuare i maggiori centri di produzione di statuette con raffigurazioni musicali in Sicilia, la diffusione di analoghe figurine nella Magna Graecia e nel Mediterraneo di età greca.
L’analisi dei contesti di rinvenimento ha permesso di determinare la ricorrenza delle associazioni e, nello stesso tempo, là dove possibile, un approccio al significato dell’ “offerta musicale” e alla eventuale relazione con i culti e i riti connessi agli specifici contesti votivi.
http://www.imagoromae.com/xvii.aiac_EN.ashx
The award represents an important opportunity to promote innovative research in the field of ancient music and dance, encouraging interdisciplinary dialogue and the use of new methodologies.
For all information on how to participate, please visit the following link: https://www.archaeological.org/grant/the-aia-telestes-award-for-material-culture-research-in-ancient-music-and-dance/
https://www.archaeological.org/grant/the-aia-telestes-award-for-material-culture-research-in-ancient-music-and-dance/?fbclid=IwAR2rpgy2pwgtgmGY1CQVdlMnc5lmI0N4FasbVdK-YvmmgQG7Fd0ERrvS6gM
The award is open to anyone who has defended a Ph.D. thesis no more than two calendar years prior to the nomination deadline. The recipient of the award will be presented with a book voucher worth €1,500 (ca. $1,700 USD) provided by Fabrizio Serra editore (https://www.libraweb.net/marchi.php?chiave=6), the pre-eminent Italian publisher of world-renowned academic journals and an independent, international, and authoritative press of scholarly works specializing in the Humanities and Social Sciences.
The award will also include an annual subscription to «Telestes. An International Journal of Archaeomusicology and Archaeology of Sound».
The award will be presented during the 2024 AIA Annual Meeting.
The deadline is September 15, 2023.
Register here: https://www.eventbrite.it/e/biglietti-the-aia-telestes-award-ceremony-for-material-culture-research-670945916297?aff=oddtdtcreator
The AIA «TELESTES» Award is awarded to scholars that explore material evidence of music and dance, and highlight how this evidence contributes to a deeper understanding of the cultural and social meanings and functions of music and dance within activities of ritual and everyday life. The essential role of music and dance in these activities is visible in the exhibition "Per gli dei e per gli uomini. Musica e danza nell'antichità”, curated by Carmelo Malacrino, Angela Bellia, and Patrizia Marra ", recently opened at the National Archaeological Museum of Reggio Calabria.
The AIA «TELESTES» Award presents an important opportunity to fill the gap between existing treatments of the sub-discipline of ‘archaeomusicology’, or ‘music archaeology’ and the possibilities offered by the rather different perspectives that have recently emerged within archaeology, art history, archaeology of performance, soundscape archaeology, sensory studies, experienced ancient religious sound studies, auditory archaeology, aural architecture, and digital heritage.
The 2023 «Telestes» Award has been bestowed on Agata Maria Catena Calabrese for her Ph.D. thesis Buried in the Senses: Investigating the North Mesopotamian Early Bronze Age Sensorial Experiences of Mortuary Rituals with GIS.
The AIA «Telestes» Award Special Mention has been awarded to Miriam Bueno Guardia for her PhD thesis La representación de la danza en el Reino Nuevo egipcio, and to Lidiane Carolina Carderaro for her PhD thesis Relationships between Music and Mythology in the Iconography of Greek Vases - Representation of Mythological Beings with Musical Attributes.
The Fabrizio Serra Editore provides the «TELESTES» Award Prize (http://www.libraweb.net/marchi.php?chiave=6). The award will also include an annual subscription to Telestes. An International Journal of Archaeomusicology and Archaeology of Sound http://www.libraweb.net/riviste.php?chiave=147
The deadline of the next AIA «Telestes» Award for Material Culture Research in Ancient Music and Dance is September 15, 2023. Nominations for the award will be considered by the Archaeomusicology Interest Group Chair (AMIG) chaired by Angela Bellia and a selection of AMIG members. Fabrizio Serra Editore may designate an ex officio representative of its own choosing.
For more info: https://www.archaeological.org/grant/the-aia-telestes-award-for-material-culture-research-in-ancient-music-and-dance/
The Nomination Form is here: https://www.archaeological.org/programs/professionals/grants-awards/applications/nomination-form-the-aia-telestes-award-for-material-culture-research-in-ancient-music-and-dance/
For more info: https://www.ispc.cnr.it/it_it/2023/06/08/al-marrc-la-mostra-per-gli-dei-e-per-gli-uomini-musica-e-danza-del-mondo-antico/?fbclid=IwAR0kG-X_WuVM4qIOKAenHYJlV7h0YiemMilP_5XQk2EiJASivUc6Le_G81A
The award is open to anyone who has defended a Ph.D. thesis no more than two calendar years prior to the nomination deadline.
The recipient of the award will be presented with a book voucher worth €1,500 (ca. $1,700 USD) provided by Fabrizio Serra editore (http://www.libraweb.net/eventi.php), the pre-eminent Italian publisher of world-renowned academic journals and an independent, international, and authoritative press of scholarly works specializing in the Humanities and Social Sciences.
The award will also include an annual subscription to «Telestes. An International Journal of Archaeomusicology and Archaeology of Sound».
The award will be presented during the 2023 AIA Annual Meeting.
The deadline is September 15, 2022.
Per l’articolo completo: https://www.ispc.cnr.it/it_it/2021/07/22/angela-bellia-riceve-il-mcaa-award/?fbclid=IwAR0dSFW3TKdIsdhD1mLB80KBWn66fYK7mKba_1QuxESFlU0_Bt_JSXRKWDA
In questo momento complesso, far parte delle Unstoppable Women, delle donne inarrestabili, significa sentirsi la responsabilità non soltanto di ispirare innovazione, resilienza, inclusività, empatia, tolleranza e solidarietà, ma anche di aiutare le nuove generazioni a intraprendere strade coraggiose e alternative sia negli studi che nel lavoro.
Link: https://startupitalia.eu/135558-20200812-unstoppable-women-le-donne-stanno-cambiando-litalia
https://www.researchitaly.it/en/news/euwiin-awards-bologna-university-researcher-for-the-european-telestes-project/
"All'incrocio tra Digital Humanities e Digital Heritage: applicazione della tecnologia 3D e della realtà virtuale alle Scienze Umane".
Un grazie particolare a Clemente Marconi (New York University), Pitano Perra (Laboratorio vibrazioni dal passato) e ad Andrea Torsello (Università Ca' Foscari di Venezia).
http://www.sns.it/-4as5-/en/storiconews/2007/ottobre07/premionenci/
http://www.sns.it/-FKze-/en/storiconews/2007/novembre07/nenci2007/
http://www.sns.it/ricerca/lettere/lsa/borsedistudio/"
Presentato nel marzo 2006 in anteprima in Europa, a Berlino, Roma, Parigi, Londra, Anversa, Bruxelles e Lussemburgo, e in Nord America, a Montreal, Toronto, Vancouver, San Francisco, Chicago e Washington."
Il DVD-Rom ‘COM.HERA Agrigento e Eraclea Minoa’ di Altair4 Multimedia ha ricevuto la Menzione Speciale della Giuria ‘per l’alta qualità culturale e tecnologica della ricostruzione virtuale’ al Premio Möbius Multimedia, Città di Lugano 2007
http://www.altair4.com/it/work/com-hera-akragas-and-herakleia-minoa/
Credits:
http://www.altair4.com/it/work/com-hera-akragas-and-herakleia-minoa/
Video:
http://www.altair4.com/it/work/com-hera-akragas-and-herakleia-minoa/
Open website:
http://www.comhera.org/agrigento.php
Home: http://www.comhera.org/index-it.htm
DVD-rom: http://www.comhera.org/index2-it.htm
Credits: http://www.comhera.org/index3-it.htm
Com. Hera nel mondo: http://www.comhera.org/index4-it.htm
Dimostrativo: http://www.comhera.org/agrigento.php?idioma=it&fromAppl=1
"
A circa quindici anni di distanza, Frasca e Lamagna proponevano di individuare una relazione fra le raffigurazioni e il culto di Persefone, rispettivamente per le terrecotte con raffigurazioni musicali provenienti da Lentini e da Adrano. Gli studi di Bernabò Brea, seguiti successivamente da Assunta Sardella e da Maria Grazia Vanaria, sulle terrecotte con raffigurazioni musicali, sia «sacrali», sia legate al mondo del teatro, hanno arricchito il panorama degli studi non solo con la maggior parte dei termini ancora oggi in uso, ma anche e soprattutto con l’ipotesi della relazione delle terrecotte di Lipari con il culto di Demetra e Kore e con il dionisismo funerario. Analogamente, Tropea ha evidenziato per Locri confronti stringenti con la coroplastica siceliota, proponendo anche una relazione fra la musica e i riti iniziatici.
Il presente studio muove dal progetto di avviare la ricognizione delle testimonianze della coroplastica con raffigurazioni musicali nel mondo greco e di elaborarne il repertorio in forma di corpora, organizzati per regioni, a partire dalla Sicilia. Si tratta della prima ricerca su tale materiale, sinora non analizzato nella prospettiva musicologica. Trattandosi di un primo repertorio sistematico di queste terrecotte, la prima fase di lavoro ha comportato la raccolta delle informazioni e della documentazione sulla coroplastica con raffigurazioni musicali conservata presso i musei e gli antiquaria siciliani, al fine di procedere alla schedatura dei reperti individuati, molti dei quali inediti.
Per lo studio dei materiali si sono presentate diverse situazioni; per alcuni reperti, pur presenti nei registri e forniti di un numero di inventario, non era mai stata compilata alcuna scheda; in altri casi le statuette esposte nelle vetrine dei musei non risultavano inventariate; alcune figurine, sebbene provenenti da un medesimo luogo, erano conservate presso diversi musei, altre erano state pubblicate, ma risultavano disperse senza che fossero mai state catalogate; in molti casi le statuette risultavano inedite. Per la redazione del catalogo si è adottata la scheda RA, in uso presso le Soprintendenze e i Musei del territorio nazionale, come modello di base, e ad essa sono stati apportati di volta in volta gli opportuni adeguamenti alle caratteristiche dei materiali oggetto della ricerca.
Il Capitolo I, dedicato alla diffusione della coroplastica con raffigurazioni musicali in Sicilia e al relativo catalogo, è stato redatto con riferimento ai siti di rinvenimento, introdotti da una breve nota storica corredata da cartine (complessivamente trentanove), ordinati alfabeticamente per luoghi e, laddove possibile, tenendo presente la denominazione greca o latina. Nei casi in cui sono stati individuati contesti diversi di ritrovamento all’interno del medesimo sito, si è scelto di ordinare il materiale per aree sacre urbane ed extraurbane, abitati e necropoli, e infine eventuali rinvenimenti sporadici o fortuiti. Alla fine del catalogo sono state collocate la Collezione Collisani e la Collezione Legato Valenza, delle quali fanno parte due terrecotte di provenienza incerta, e la Collezione privata del Museo Archeologico di Palazzo Varisano in Enna.
Per la maggior parte corredato da fotografie, appositamente realizzate per questa ricerca, il catalogo si compone di 376 schede di singole statuette o di più reperti caratterizzati da ripetitività figurativa e da numero di inventario crescente. Si è ricorso all’uso di fotografie già pubblicate nei casi di impedimento tecnico o per irreperibilità del reperto. In ciascuna scheda sono comprese le indicazioni istituzionalmente e scientificamente prescritte in campo archeologico: numerazione del reperto nel catalogo, luogo di conservazione, numero d’inventario, descrizione, tracce di colore, misurazione, datazione e bibliografia.
Nella descrizione sono stati evidenziati la presenza degli strumenti musicali, le caratteristiche organologiche e la posizione dello strumento rispetto alla figura, la collocazione delle figure rappresentate nell’atto di suonare rispetto alle altre all’interno della medesima raffigurazione e i particolari figurativi, abbigliamento, ornamenti, acconciatura e copricapo.
La compilazione del catalogo ha posto degli interrogativi sui criteri di ordinamento delle schede; si è scelto di collocare le schede relative ai luoghi o ai siti di rinvenimento, rispettando l’ordine dei diciannove «gruppi» individuati, ai quali è stata attribuita una lettera maiuscola dell’alfabeto:
A. Suonatrice di auloi
B. Suonatrice di tympanon
C. Suonatrice di kithara
D. Suonatrice di kymbala
E. Suonatrice di arpa
F. Suonatrice di lyra
G. Kourotrophos
H. Figure femminili alate e caudate (Sirene?)
I. Ermafrodito
L. Triadi di figure femminili
M. Pinakes
N. Pinakes con figure femminili
O. Suonatore di auloi
P. Recumbente
Q. Bes
R. Pan
S. Personaggio maschile con syrinx
T. Eros
U. Figure legate al mondo del teatro
All’interno di ciascun gruppo, è stato preso in considerazione un insieme omogeneo di statuette caratterizzate dalla presenza del medesimo strumento musicale e, per l’aspetto formale, da analoghe caratteristiche riconducibili ad un modello comune; dove necessario, è stata operata una ulteriore distinzione per «tipologie» cronologiche (età arcaica, classica ed ellenistica), alle quali è stata attribuita la stessa lettera dell’alfabeto del gruppo di appartenenza e un numero arabo progressivo; all’interno di questa suddivisione sono state identificate le varianti, sulla base di elementi figurativi caratterizzanti. Questo lavoro ha reso possibile la restituzione dei materiali al proprio contesto archeologico e la loro lettura al suo interno.
La fase successiva di studio (Capitolo II) è stata dedicata al commento del catalogo. Esso ha consentito di distinguere i maggiori centri di rinvenimento e di produzione in Sicilia della coroplastica con raffigurazioni musicali, la diffusione di analoghe figurine nella Magna Grecia e nel Mediterraneo di età greca, e di avviare il confronto con statuette di altre classi di terrecotte, per quanto riguarda l’abbigliamento, gli ornamenti, l’acconciatura, presenti anche nella coroplastica con raffigurazioni musicali. Dallo studio dei contesti di rinvenimento è emerso che quattordici gruppi sono documentati in aree sacre dedicate a divinità femminili, nella maggior parte a Demetra e Kore/Persephone, e in alcuni casi ad Artemide; nove in abitato e dieci nelle necropoli. Questi dati hanno evidenziato che la produzione di coroplastica con raffigurazioni musicali, come in genere altre tipologie di terrecotte, era destinata ad assumere una funzione votiva.
Numerose sono le questioni che ora sono state sollevate e che richiederanno approfondimenti futuri, anche in prospettiva interdisciplinare. Alcune, in particolare, sia di carattere generale sia di rilievo specifico, meritano di essere qui accennate. Da un lato, si pone il problema della comprensione del significato della dedica di questi fittili e della loro relazione con la musica. Strettamente collegato con questo è il tema dell’identificazione di alcune tipologie di figure, in particolare le suonatrici di auloi, le suonatrici di tympanon, le triadi di figure femminili e i pinakes con figure femminili che potrebbero rappresentare divinità, sacerdotesse o semplici offerenti. Dallo studio è inoltre emerso che l’estensione cronologica e geografica delle terrecotte con raffigurazioni musicali può forse essere messa in relazione con le pratiche relative a precisi ambiti rituali e cultuali. Se la presenza della musica emerge con ampiezza dalla documentazione di scavo, essa ricorre invece molto meno frequente nelle fonti scritte. Una selezione di queste sono riportate nell’Appendice. Infatti anche le poche, e per questo ancor più significative, informazioni fornite dai testi sottolineano l’esigenza di approfondire con future ricerche il ruolo della musica nei contesti archeologici a cui è associata la presenza di statuette con raffigurazioni musicali, prendendo in considerazione altri luoghi della Magna Grecia e del Mediterraneo in età greca. I confronti possibili e le eventuali analogie potranno meglio rispondere ad alcune delle questioni sollevate e di certo schiudere nuovi scenari della ricerca.
http://amsdottorato.unibo.it/227/1/Tesi_di_Dottorato_di_Angela_Maria_Bellia.pdf
The Journal Telestes: An International Journal of Archaeomusicology and Archaeology of Sound is now accepting submissions for its 5th issue, scheduled for publication in 2025. Telestes addresses a notable gap in scholarly publications and specialist periodicals by focusing on the archaeological evidence of musical and dance interest. It endeavours to contextualise historical musical and choral performances, interpreting their cultural, religious, and social significance in ancient societies. The Journal also welcomes papers on the study of sound and hearing in archaeological contexts, examining past soundscapes and sonic fabrics, including anthrophony, biophony, and geophony.
Research on a broad geographical spectrum—from the Mediterranean to North Europe, Central and South America, Africa, Southeast Asia, and the Pacific Rim—is encouraged. Cross-disciplinary and multi-disciplinary approaches are particularly valued.
Submissions can be in English, German, French, Italian, or Spanish. The preferred length for contributions is 8,000 words, and it is planned to publish one issue annually with 5-6 contributions totalling approximately 200 pages. The deadline for manuscript submissions is 31 December 2024.
For further details and to submit manuscripts, please visit: http://www.libraweb.net/riviste.php?chiave=147 or contact angela.bellia@cnr.it; angbellia@gmail.com
Manuscripts will undergo peer review by two anonymous readers.
Link CfP: https://www.libraweb.net/documenti/Call_for_papers_Telestes
Link Editorial Rules: https://www.libraweb.net/Documenti/Editorial_Rules_Telestes.pdf
Link Telestes Journal in ISPC: https://www.ispc.cnr.it/it_it/2020/01/10/telestes-1-2021_3-2023/
Architectural Structures for Music, Sonic Events, and Dance
in the Ancient World
ANNUAL MEETING OF THE ARCHAEOLOGICAL INSTITUTE OF AMERICA
AND THE SOCIETY FOR CLASSICAL STUDIES
Philadelphia, PA, January 2-5, 2025
Hybrid Event
https://www.i3da2023.org/scientific-programme/
Building upon the success of its first edition in 2021, the I3DA conference will focus on 3D audio, virtual acoustics, auralisation, immersive audio, virtual reality, heritage acoustics, architectural acoustics, immersive sound art in new media contexts, 3D game audio, machine learning in the context of acoustics, listening experiments and measurement techniques. The University of Bologna will host this conference from September 5-7, 2023. Lamberto Tronchin is the General Conference Chair.
Digital Approaches to Hearing the Past
The special session on Digital Approaches to Hearing the Past will be chaired by Angela Bellia, researcher at CNR ISPC and scientific advisory board member of the I3DA.
The session aims to explore how digital methods and virtual acoustic reconstructions can improve our knowledge on sounds and sound behavior in ancient places, performative spaces, and architectural structures as well as within a built and natural environment in the past, by promoting their modern reuse and sonic preservation. Moreover, the goal of this session is the analysis of the relationship between acoustics, architecture, and environment – and how sound interacts with that environment -, as well as of the methods concerning anechoic recordings of music, sounds, and voices to be used in the auralisation of ancient places and performative spaces.
Call for Papers
Some crucial issues that papers for this special session could address are:
- whether the location of monuments, ancient theatres, and performative spaces may tell us about sound and auditory culture in antiquity;
- whether the acoustic qualities of architectural structures may have caused an evolution of ancient buildings and structures, in which there was a auditory experience of the space and built environment;
whether the spatial configuration of monuments, ancient theatres, and performative spaces contributed to model their intangible acoustic aspects (soundscape, voicescapes, dancescapes);
- whether the links between form and function of ancient structures and buildings can shed light on the active properties of aural architecture and on performances in strengthening cultural and social identity;
- whether digital architectural reconstruction, immersive audio-visual modes, and auralisation could enable us to understand the way sounds and voices were experienced;
- whether digital models of instruments or the reconstruction of ancient instruments can enhance our knowledge on their evolution in relationship with sound perception of instruments and the physical acoustics in monuments, ancient theatres, and performative spaces of the past.
Deadlines
Submission deadline for abstracts: March 31, 2023
Announcement of accepted abstracts: April 7, 2023
Submission deadline for complete paper: June 15, 2023
Announcement of full paper review results: June 30, 2023
Submission deadline for final paper: July 21, 2023
All papers will undergo peer review.
As in the previous edition of I3DA, the proceedings will be submitted to the IEEE for publication in IEEEXplore and indexed on Scopus and Web of Science.
https://www.i3da2023.org/call-for-papers/
More information about I3DA
https://www.i3da2023.org/
The special session on “Digital Approaches to Hearing the Past” will be chaired by Angela Bellia, researcher at CNR, ISPC and scientific advisory board member of the I3DA (https://www.i3da2023.org/scientific-advisory-board/). The session aims to explore how digital methods and virtual acoustic reconstructions can improve our knowledge on sounds and sound behavior in ancient places, performative spaces, and architectural structures as well as within a built and natural environment in the past, by promoting their modern reuse and sonic preservation. Moreover, the goal of this session is the analysis of the relationship between acoustics, architecture, and environment – and how sound interacts with that environment -, as well as of the methods concerning anechoic recordings of music, sounds, and voices to be used in the auralisation of ancient places and performative spaces (https://www.i3da2023.org/digital-approaches-to-hearing-the-past/).
Some crucial issues that papers for this special session could address are:
1) whether the location of monuments, ancient theatres, and performative spaces may tell us about sound and auditory culture in antiquity;
2) whether the acoustic qualities of architectural structures may have caused an evolution of ancient buildings and structures, in which there was an auditory experience of the space and built environment;
3) whether the spatial configuration of monuments, ancient theatres, and performative spaces contributed to model their intangible acoustic aspects (soundscape, voicescapes, dancescapes);
4) whether the links between form and function of ancient structures and buildings can shed light on the active properties of aural architecture and on performances in strengthening cultural and social identity;
5) whether digital architectural reconstruction, immersive audio-visual modes, and auralisation could enable us to understand the way sounds and voices were experienced;
6) whether digital models of instruments or the reconstruction of ancient instruments can enhance our knowledge on their evolution in relationship with sound perception of instruments and the physical acoustics in monuments, ancient theatres, and performative spaces of the past.
The submission deadline for abstracts is March 31, 2023. Acceptance of abstracts will be announced on April 7, 2023. The full paper deadline is June 15, 2023. All papers will undergo peer review.
As in the previous edition of I3DA, the proceedings will be submitted to the IEEE for publication in IEEEXplore and indexed on Scopus and Web of Science.
More information about I3DA is available at
https://www.i3da2023.org/conference-overview/
https://www.i3da2023.org/call-for-papers/
https://www.i3da2023.org/digital-approaches-to-hearing-the-past/
The Ure Museum at University of Reading is delighted to present a conference on ‘Ancient Greek Dance in teaching’, kindly supported by the Institute of Classical Studies, London.
June 24–25th 2022
Ure Museum of Greek Archaeology, Edith Morley Building, University of Reading, Whiteknights campus, Reading RG6 6EL
Keynote speakers:
Frederick Naerebout, Professor Emeritus in Ancient History from the University of Leiden
Dr. Angela Bellia, Chair of the Archaeomusicology Interest Group (AMIG) and Editor in Chief of TELESTES, the International Journal of Archaeomusicology and Archaeology of Sound.
Through ‘blended’ delivery, delegates will have the opportunity to share their work on different aspects in the study of Ancient Greek Dance (AGD) either digitally on in person in Reading.
Each day will include practical workshops. In a concluding plenary session, we will map the ways in which AGD is and might be deployed in educational contexts and begin to plan for a network and a set of educational resources.
Call for papers:
Please download our CALL FOR PAPERS here:
https://research.reading.ac.uk/ancient-dance/agdt-conference/?fbclid=IwAR33OTSgFrACTc_wYDsnbN3U7aIYm4OzNwnMi96YXu_ThDiBh8HYRqT7jow
This call is open to researchers, teachers, dance practitioners, performers or anyone interested in AGD. Each speaker will have 20 mins to deliver the paper followed by 10 mins of discussion. Papers will be presented in English.
Registration (free) will open in May 2022.
Scientific committee:
Prof. Amy C. Smith (Ure Museum Curator & Head of Department of Classics, University of Reading)
Dr Nathalie Choubineh (Independent Researcher of Ancient Greek and Persian Dance)
Dr Claudina Romero Mayorga (Ure Museum Education Officer)
Dr James T. Lloyd (Austrian Academy of Sciences)
Music, Sounds, and Rhythmical Movements in Funerary Contexts of the Ancient World
ANNUAL MEETING OF THE ARCHAEOLOGICAL INSTITUTE OF AMERICA
AND THE SOCIETY FOR CLASSICAL STUDIES
New Orleans, LA. January 5-8, 2023
Sponsored by the AIA Archaeomusicology Interest Group
Organiser: Angela Bellia, Institute of Heritage Science, National Research Council of Italy
The study of funerary practices in ancient societies has been profoundly renewed thanks to new archaeological discoveries as well as new approaches relating to performance. Within this context, the evidence offered by material culture should play a critical role in improving our knowledge of music, sounds, and dance, all of which constituted an important aspect of funerary ceremonies. Considering funerary rituals in the ancient world, this panel aims to explore material evidence related to musical performances, sounds, and rhythmical movements, and highlight the contribution of this evidence to a deeper understanding of the cultural, sensorial, and social meanings and functions of these performances, reconstructing the many different ways, spaces, and contexts in which they were experienced.
Some questions that papers for this colloquium could address are:
a) Which musical and dancing activities took place in funerary spaces and contexts? Which musical instruments and sound tools accompanied them?
b) How can material evidence improve our knowledge of music and body movements in the rituals performed during the handling of bodies of the deceased and the different moments of the funeral ceremony around and inside the tombs and the funerary spaces?
c) How can material evidence help us develop our knowledge of the range of sounds present during funerary rituals and the related soundscape (e.g. from sobs, shouts, groans and wails, to speeches and sung laments accompanied by musical instruments and/or ritualised movements)?
d) What are the symbolic, social, and religious meanings of material evidence of musical and dance interests found amongst grave goods or deposited in a tomb? Were musical and sound objects deposited in the tombs related to the status, age, or role of the deceased? Did they belong to professionals?
e) How can the presence of material evidence be connected to the idea that music and dance allow the deceased to transition to the afterlife? Is there a relationship between this function with religious beliefs?
f) How did ancient peoples experience dance and physical movements during funerary performances? Could ancient dances and body movements in funerary rituals reinforce the sense of belonging to a community? Who were the performers at these spaces? How did they contribute to the ritual dancescape?
g) How did music, sounds and rhythmical movements performed at the tombs improve the sensorial awareness of the mourners in space and environment?
These topics will be addressed through contributions by scholars working in various fields: archaeology, history of religion, history of dance, archaeomusicology, archaeology of performance, soundscape archaeology, sensory archaeology, anthropology, and art history.
Interested scholars should submit for consideration an abstract of approximately 250 words in length by Monday 14th March 2022 to the organiser, Angela Bellia (angbellia@gmail.com). If you have questions about whether an idea would fit with the theme, please feel free to contact Angela. In accordance with AIA regulations, all abstracts for papers will be read anonymously by two referees.
«TELESTES» seeks to fill a gap in current scholarly publications and specialist periodicals on the archaeological evidence of musical and dance interest. It also aims to place musical and choral performances of the past into one clearly defined space and event in order to interpret their cultural significance, both religious and social, and to understand what music and making music and dance meant in ancient societies. Furthermore, the Journal publishes papers on the study of sound and hearing along with related sensorial aspects in archaeological contexts and on past soundscapes and sonic fabrics (anthrophony, biophony, and geophony): this includes subject areas that range from the behaviour of
sound in a sonic space and aural architecture to auditory experience and physical acoustics, as well as auditory archaeology and the importance of sound as a medium of social interaction in the past.
The Journal welcomes research on the broadly defined Mediterranean region and from other areas of the world, such as North Europe, Central and South America, Africa, Southeast Asia, and the Pacific Rim. Contributions pertaining to different periods are welcome. Cross-disciplinary and multi-disciplinary approaches would be particularly appreciated.
The preferred language for the contributions is English, but other languages (including German, French, Italian and Spanish) are acceptable.
At this stage, the goal for the Journal is to publish one issue per year with 5-6 contributions, with a total of ca. 200 pp. The preferred length for the contributions is 8,000 words. The format of the Journal will
be 21,5x31cm. The Journal will be published in both print and digital formats, the former in black and white and the latter in colour. The digital issue will be available on www.libraweb.net. Manuscripts should be sent to angbellia@gmail.com and will be subject to peer review by two anonymous readers.
The deadline for the submission of manuscripts for the first issue is 31 March 2022.
For details, please check: https://www.mdpi.com/journal/heritage/special_issues/sonic_heritage?fbclid=IwAR27T7ycyW5dVEfAeDrcyaSy8S95nAwOufFstzMeq1dOWQs7cCMZ8eonAao
Heritage is a peer-reviewed open access journal of cultural and natural heritage science. Since its inception in 2018, /Heritage/ has experienced continuous growth over the last years with over 300 papers published in total. In 2021, the journal has been indexed in both ESCI and Scopus. Heritage decided to waive the fee fo all the papers submitted from 1st June to 31st August 2021.
Heritage is committed to rapid publication. A first decision is provided to authors approximately 12.3 days after submission and once accepted an article is published in less than three days.
The deadline for submitting your paper is September 30th 2021.
You can find of “Heritage” website here:
https://www.mdpi.com/journal/heritage?fbclid=IwAR1mm0Fi1n4wkoYZg4v7RjRIQYadd5z_K25fFcN8p4oV8E2BszoqaO6CT44
To get the latest news, please follow Heritage on Twitter: https://twitter.com/Heritage_MDPI?fbclid=IwAR0CT-odPAf4djeh_2KPOFFHmMfHOs7ANq7_qYpEdvHqhFPK7NqyP_FtsnU
If you have any questions, please feel free to let us know or please contact the Heritage Managing Editor (ginny.zhang@mdpi.com)
Expect to your reply!
Angela Bellia and Eva Pietroni
Material Evidence of Dance Performances in the Ancient World
123th ANNUAL MEETING OF THE ARCHAEOLOGICAL INSTITUTE OF AMERICA AND THE SOCIETY FOR CLASSICAL STUDIES
Annual Meeting in San Francisco, CA. January 7-10, 2022
Sponsored by the AIA Archaeomusicology Interest Group
Organizer: Angela Bellia, Institute of Heritage Science, National Research Council of Italy
Although over the last decade various scholarly disciplines have devoted increasing attention to ancient dance, they have done so by focusing on textual sources. However, in reconstructing features of dance performances, the evidence offered by material culture within its archaeological context should play a critical role. Considering dance performances in the ancient world, this panel aims to explore material evidence of dance and highlight the contribution of this evidence to a deeper understanding of the cultural and social meanings and functions of dance and ritualised movements within activities of ritual and everyday life, reconstructing the many different ways and contexts in which they were experienced. Some questions that papers for this colloquium could address are:
a) Which dancing activities took place in sacred spaces, in private homes and in spaces belonging to public and religious life? Where specifically did ancient peoples experience physical movement events outdoors? Which musical instruments and sound tools accompanied them?
b) Could performative spaces for dancing be analysed as places where individuals or groups displayed and experienced their collective or personal identities and status?
c) Could ancient dances and ritualised movements reinforce local individualities? Could physical movements act as a dynamic opportunity for exchange and interaction among different communities?
d) Could performative spaces enhance our knowledge of the ways dancers interacted with their audiences in those structures? Who were the dance performers at these spaces? Were they professionals?
e) How did physical movements performed in ancient settings contribute to the complex relationship between buildings, spaces, and social interactions?
f) Could dancescapes help us to explore how the shapes of spaces and structures interacted with human perception, behaviour, and experience?
g) Could the characteristics of dancing floors, theatral structures, and theatres be studied as architectural structures that directed attention to interactions between behaviour and the built environment?
These topics will be addressed through contributions by scholars working in various fields: archaeology, history of religion, history of dance, archaeomusicology, archaeology of performance, sensory archaeology, anthropology, and art history.
Interested scholars should submit for consideration an abstract of approximately 250 words in length by Thursday April 1st, 2021 to the organizer, Angela Bellia (angbellia@gmail.com). If you have questions about whether an idea would fit with the theme, please feel free to contact Angela. In accordance with AIA regulations, all abstracts for papers will be read anonymously by two referees
OF SOUNDSCAPES AND TASKSCAPES IN ANTIQUITY
Organisers: Angela Bellia (Italy) - Institute of Heritage Science at the Italian National Research Council; Meritxell Ferrer Martin (Spain) - Universitat Pompeu Fabra; Agnes Garcia-Ventura (Spain) - Universitat Autònoma de Barcelona; Mireia López- Bertran (Spain) - Universitat de València
Working and music/sounds are two topics of research that have been almost unexplored together so far in studies of material culture, especially due their ephemeral nature. On the one hand, when dealing with music, working environments are not usually considered. On the other hand, when dealing with work and production the focus is often on administrative and economic aspects, as well on the so-called chaîne opératoire, but not on soundscapes.
In this session we aim to fill this gap discussing several aspects of the interaction between working and music/sounds through a fresh look of material culture that shed light on the potentialities of objects and architectures as creators of a wide array of sounds that participated in the creation of taskscapes in working environments. Notice that we use indiscriminately and intentionally music and sounds as synonyms as we also aim at discussing the definition of their boundaries. In doing so, we aim to include in the debates on soundscapes issues as diverse as work songs, traditionally considered “music”, but also the crackle of fire or the pounding of mortars, to name two examples, traditionally considered “sounds” (or even “noise”).
How do we define these conceptual borders in working environments? Why? Are they useful for our analysis or they hide more than what they show? To discuss all these issues we encourage contributions by scholars dealing with any period and geography as well as various perspectives: history of religion, archaeomusicology, archaeoacoustics, sound archaeology, ecoarchaeology, classics, anthropology, and art history. Interdisciplinary and multidisciplinary research will be welcome, especially research on archeoacustics based on contemporary analysis like Soundshed Analysis GIStool among others.
Theme: Assembling Archaeological Theory and the Archaeological Sciences.
Keywords: Soundscapes, Taskscapes, Music, Work, Sound objects, Sound tools.
Submissions can only be done online:
https://www.e-a-a.org/EAA2021/Programme.aspx?WebsiteKey=122bcc87-037e-4265-b72a-db2092c01854&hkey=f557022c-8526-45dd-b4ad-edaeb1c77ac8&Program=3#Program
Session #095 ARTS IN WORK: ABOUT THE INTERACTION
OF SOUNDSCAPES AND TASKSCAPES IN ANTIQUITY
Organisers: Angela Bellia (Italy) - Institute of Heritage Science at the Italian National Research Council; Meritxell Ferrer Martin (Spain) - Universitat Pompeu Fabra; Agnes Garcia-Ventura (Spain) - Universitat Autònoma de Barcelona; Mireia López- Bertran (Spain) - Universitat de València
Working and music/sounds are two topics of research that have been almost unexplored together so far in studies of material culture, especially due their ephemeral nature. On the one hand, when dealing with music, working environments are not usually considered. On the other hand, when dealing with work and production the focus is often on administrative and economic aspects, as well on the so-called chaîne opératoire, but not on soundscapes.
In this session we aim to fill this gap discussing several aspects of the interaction between working and music/sounds through a fresh look of material culture that shed light on the potentialities of objects and architectures as creators of a wide array of sounds that participated in the creation of taskscapes in working environments. Notice that we use indiscriminately and intentionally music and sounds as synonyms as we also aim at discussing the definition of their boundaries. In doing so, we aim to include in the debates on soundscapes issues as diverse as work songs, traditionally considered “music”, but also the crackle of fire or the pounding of mortars, to name two examples, traditionally considered “sounds” (or even “noise”).
How do we define these conceptual borders in working environments? Why? Are they useful for our analysis or they hide more than what they show? To discuss all these issues we encourage contributions by scholars dealing with any period and geography as well as various perspectives: history of religion, archaeomusicology, archaeoacoustics, sound archaeology, ecoarchaeology, classics, anthropology, and art history. Interdisciplinary and multidisciplinary research will be welcome, especially research on archeoacustics based on contemporary analysis like Soundshed Analysis GIStool among others.
Theme: Assembling Archaeological Theory and the Archaeological Sciences.
Keywords: Soundscapes, Taskscapes, Music, Work, Sound objects, Sound tools.
Submissions can only be done online:
https://www.e-a-a.org/EAA2021/Programme.aspx?WebsiteKey=122bcc87-037e-4265-b72a-db2092c01854&hkey=f557022c-8526-45dd-b4ad-edaeb1c77ac8&Program=3#Program
https://www.fasticongressuum.com/single-post/2020/03/14/CALL-20032020-AIA-Colloquium-on-Archaeomusicology-Soundscape-and-Landscape-at-Panhellenic-Greek-Sanctuaries---Chicago-IL-USA
TELESTES. An International Journal of Archaeomusicology and Archaeology of Sound
«TELESTES» seeks to fill a gap in current scholarly publications and specialist periodicals on the archaeological evidence of musical and dance interest. It also aims to place musical and choral performances of the past into one clearly defined space and event in order to interpret their cultural significance, both religious and social, and to understand what music and making music and dance meant in ancient societies. Furthermore, the Journal publishes papers on the study of sound and hearing along with related sensorial aspects in archaeological contexts and on past soundscapes and sonic fabrics (anthrophony, biophony, and geophony): this includes subject areas that range from the behaviour of sound in a sonic space and aural architecture to auditory experience and physical acoustics, as well as auditory archaeology and the importance of sound as a medium of social interaction in the past. The Journal welcomes research on the broadly defined Mediterranean region and from other areas of the world, such as North Europe, Central and South America, Africa, Southeast Asia, and the Pacific Rim. Contributions pertaining to different periods are welcome. Cross-disciplinary and
multi-disciplinary approaches would be particularly appreciated. The preferred language for the contributions is English, but other languages (including German, French, Italian and Spanish) are acceptable. At this stage, the goal for the Journal is to publish one issue per year with 5-6 contributions, with a total of ca. 200 pp. The preferred length for the contributions is 8,000 words. The format of the Journal will be 21, 5x31cm. The Journal will be published in both print and digital formats, the former in black and white and the latter in colour. The digital issue will be available on www.libraweb.net. Manuscripts should be sent to angbellia@gmail.com and will be subject to peer review by two anonymous readers. The deadline for the submission of manuscripts for the first issue is 30 November 2019.
Link: https://www.libraweb.net/promoriv.php?chiave=147
Please note the following call for papers for the session “From Landscape Archaeology to Soundscape Archaeology: Themes, Approaches, and Perspective” at the 25th Annual Meeting of the European Association of Archaeologists (EAA), to be held in Bern, Switzerland, from 4 to 7 September, 2019. This session aims to serve as a platform to promote discussion on a variety of themes related to Landscape Archaeology, Sound Archaeology, Archaeoacoustics, Archaeomusicology, Sensory Archaeology.
The deadline for submitting abstracts for consideration is 14 February 2019 via the EAA website:
https://submissions.e-a-a.org/eaa2019/
General information about the conference, venue, fees and detailed guidelines can be found on:
https://www.e-a-a.org/…/General_…/EAA2019/General_Info.aspx…
Looking forward to hearing from you.
Yours sincerely,
Angela Bellia and Tommaso Mattioli
*****
Angela Bellia, Ph. D.
Marie Curie Researcher
Institute for Archaeological and Monumental Heritage (IBAM)
National Research Council (CNR)
Chair of the Archaeomusicology Interest Group (AMIG)
Archaeological Institute of America (AIA)
angbellia@gmail.com
https://nationalacademies.academia.edu/AngelaBellia
Tommaso Mattioli, Ph. D.
Senior Researcher
ERC project ArtSoundScapes
Dept. Història i Arqueologia, Facultat de Geografia i Història
Universitat de Barcelona, C/ de Montalegre, 6, 08001 Barcelona
tmattioli@ub.edu
mob +(39)3282268098
Hotel I PORTICI - Via lndipendenza 69 - Bologna
Programma
Ore 14:30-15:00 - entrata e registrazione degli invitati
CONDUZIONE: Carla Ferreri - Direttore AMM
15:00 Mario Epifani - direttore Museo Palazzo Reale Napoli:
"La forma al servizio del contenuto: l'arte come veicolo di messaggi"
15:30 Christian Greco - direttore Museo Egizio di Torino:
"Ricerca e musei: la biografia degli oggetti"
16:00 Piero Formica - European Luminary Award:
"Gli imprenditori scientifici nell'eta della conoscenza: Le loro parolee voci"
16:30 Pier Luigi Luisi - Accademico e Scienziato: "Vita e Natura"
17:00 Angela Bellia - Ricercatrice CNR: "Lo specchio del suono"
17:30 Performance dei Maestri Veronica Lorenzoni e Mattia Tascone: "Omaggio al ballo popolare patrimonio dell'Umanita UNESCO: l'ispirazione nel Tango"
18:00 - Conclusioni
Conversazione sul tema
OLTRE IL PASSATO CON LE STEAM:
LA RICERCA SUL “SONIC HERITAGE” ATTRAVERSO
LA TECNOLOGIA DIGITALE E L’ANALISI ACUSTICA VIRTUALE.
IL CONTRIBUTO FEMMINILE IN EUROPA
Mercoledì 23 Febbraio 2022
dalle ore 14.30 alle ore 16.00
su piattaforma ZOOM
La crescente attenzione sull’importanza del suono in tutti gli aspetti della vita e dell’ambiente naturale ha posto in evidenza come la dimensione sonora possa favorire una più profonda comprensione dei luoghi e degli spazi dove il suono, inteso come insieme di musica, sonorità dell’ambiente e rumori, veniva prodotto e percepito nel passato.
Dal lavoro di alcune ricercatrici in Europa è emersa la possibilità di esplorare il soundscape del mondo antico grazie all’uso di particolari software che permettono oggi di indagare sul Sonic Heritage come patrimonio da conoscere, preservare e comunicare anche attraverso gli strumenti e le applicazioni per l’interazione con il mondo virtuale.
L’impegno delle ricercatrici europee si sta rivelando prezioso per superare gli steccati disciplinari: i loro approcci, i metodi e la contaminazione consentono una sempre più ampia conoscenza della funzione del suono nella vita del passato e, come un’eco, anche del presente e del futuro.
Relatori:
Angela Bellia – Istituto di Scienze del Patrimonio Culturale – Consiglio Nazionale delle Ricerche
Link per la partecipazione:
https://us02web.zoom.us/j/89676583952?pwd=VXVqdjAzYk1lcjdvU3B4T3pLVjVhdz09&fbclid=IwAR3dB5MnFVyFoZq6VpwssYgQeAm6lonoSYOli3levoUBdDxFsee9GMZcM6M#success
https://www.facebook.com/events/967706907205393/?acontext=%7B%22ref%22%3A%2252%22%2C%22action_history%22%3A%22[%7B%5C%22surface%5C%22%3A%5C%22share_link%5C%22%2C%5C%22mechanism%5C%22%3A%5C%22share_link%5C%22%2C%5C%22extra_data%5C%22%3A%7B%5C%22invite_link_id%5C%22%3A273957728216831%7D%7D]%22%7D
http://www.magazine.unibo.it/archivio/2015/11/05/una-ricercatrice-unibo-eletta-chair-dell2019italy-chapter-della-marie-curie-alumni-association
A guidare la divisione italiana dell'associazione internazionale di ricercatori legati alle Marie Skłodowska-Curie Actions, sarà Angela Bellia del Dipartimento di Beni Culturali dell'Università di Bologna
http://www.magazine.unibo.it/archivio/2015/09/16/un-antico-aulos-della-magna-grecia-torna-in-vita-grazie-alla-stampa-3d
La storia di queste città , che sono state al centro di una delle più antiche ed evolute civiltà del Mediterraneo, è ricca di spunti particolarmente adatti ad una valorizzazione multimediale: la magnifica posizione naturale, il contributo delle città allo sviluppo del territorio, i rapporti con le altre civiltà del Mediterraneo, di cui la provincia di Agrigento costituiva forse il più importante snodo per gli scambi commerciali e culturali, la creazione di una propria identità culturale, che ha influito positivamente sulle culture dei popoli con cui si è confrontata.
Le ricostruzioni degli ambienti architettonici, ma anche degli eventi storici, nonché degli episodi della vita quotidiana e degli altri aspetti della vita politica economica e sociale, sono state realizzate attraverso il racconto di testimonianze dirette, utilizzando fonti storiche antiche e memorie di illustri viaggiatori del passato.
Realizzato in collaborazione con la Soprintendenza archeologica di Agrigento, Ente Parco della Valle dei Templi di Agrigento, Museo Archeologico Regionale di Agrigento.
http://www.altair4.com/it/work/com-hera-akragas-and-herakleia-minoa/
PREMIO MÖBIUS MULTIMEDIA Lugano 2007
Menzione Speciale della Giuria, Lugano 2007
Il DVD-ROM “com.Hera Agrigento e Eraclea Minoa”, edito in quattro lingue: italiano, inglese, francese e tedesco, è stato presentato nel marzo 2006 in anteprima in Europa, a Berlino, Roma, Parigi, Londra, Anversa, Bruxelles e Lussemburgo, e in Nord America, a Montreal, Toronto, Vancouver, San Francisco, Chicago e Washington.
Il DVD-Rom ‘COM.HERA Agrigento e Eraclea Minoa’ di Altair4 Multimedia ha ricevuto la Menzione Speciale della Giuria ‘per l’alta qualità culturale e tecnologica della ricostruzione virtuale’ al Premio Möbius Multimedia, Città di Lugano 2007
http://www.altair4.com/it/work/com-hera-akragas-and-herakleia-minoa/
Credits:
http://www.altair4.com/it/work/com-hera-akragas-and-herakleia-minoa/
Video:
http://www.altair4.com/it/work/com-hera-akragas-and-herakleia-minoa/
Open website:
http://www.comhera.org/agrigento.php
Home: http://www.comhera.org/index-it.htm
DVD-rom: http://www.comhera.org/index2-it.htm
Credits: http://www.comhera.org/index3-it.htm
Com. Hera nel mondo: http://www.comhera.org/index4-it.htm
Dimostrativo: http://www.comhera.org/agrigento.php?idioma=it&fromAppl=1
To realize Europe's full research potential, we must broaden research excellence to recognize and reward widening participation.
26 February 2019
https://anglejournal.com/article/2018-12-overcoming-european-geopolitical-differences-for-the-future-of-research-to-realize-europes-full-research-potential-the/
European research funding is unevenly distributed across the European Union, to the detriment of research and innovation which is fuelled by diverse and creative input benefitting from close societal and regional connections. A driver for this uneven distribution is the pervasive focus on "research excellence", a concept with little intrinsic meaning and instead often defined through exclusionary and competitive means.
Horizon Europe is a planned 7-year, €100 billion EU research funding programme intended to succeed the current Horizon 2020. The success of this upcoming funding programme hinges on how well it manages to overcome these inequalities. To realize Europe's full research potential, diverse contributions and broad participation must be recognized as an integral part of research excellence.
by Angela Bellia, Chair of the Events and Network Working Group of the Marie Curie Alumni Association
http://www.saggiatoremusicale.it/home/attivita/2013/xvii-colloquio-di-musicalogia/abstracts/angela-bellia/
The research project «Studio dei resti ossei e degli strumenti musicali contenuti nei corredi funerari», is located in an interdisciplinary field that combines the musicological studies and the archaeology and archaeogenetics research. The first phase of analysis was the study of the musical instruments found at Crotone, Locri, Metaponto, di Poseidonia and Taranto. The diffusion of the musical instruments in the South Italy enriched our knowledge on the musical instruments of the ancient world. A new phase of research is the study of three tombs at Metaponto: they are exceptional for the rich grave goods and for the presence of the turtle shells used as resonance box of the string musical instruments. The turtle shells were next to the skeleton of the deceased still preserved.
Numerose testimonianze scritte, iconografiche e archeologiche documentano l’importanza della sfera sonora nell’ambito mitico e rituale di Demetra. In Sicilia, il rinvenimento di statuette femminili singole o in gruppo che suonano o reggono strumenti musicali in aree sacre dedicate alla divinità, sembrano in relazione con le feste demetriache e con la musica e la danza eseguite anche nel corso dei riti tesmoforici. A queste testimonianze si possono ora aggiungere quelle di tympana miniaturistici e di kymbala in bronzo individuati in contesti sacri alla dea. La presenza degli strumenti a percussione nella sfera demetriaca trova riscontro nelle fonti scritte: l’uso dei kymbala e dei tympana potrebbe aver avuto luogo durante la ripetizione rituale della corsa di Demetra alla ricerca di Kore al suono degli strumenti sacri.
All'indirizzo: http://www.ridim.org/pdf/RIdIM_Paper_Session_Rome.pdf
http://www.sidm.it/index.php?option=com_content&view=article&catid=37%3Aconvegni&id=372%3Axvi-convegno-annuale-sidm&Itemid=114#resoconto
Questo è il link al video: https://youtu.be/InFp3OwdL7E
Numerose sono le composizioni sinfoniche e da camera di Lizzi, alcune delle quali, come Cinque musiche per Teano (1939), scritta in occasione del rinvenimento ad Agrigento di un sarcofago (II-III sec d.C.), forse ad una fanciulla diciottenne pianta dalla madre Sabina, e Settembre in Val d’Akragas (1968) ottennero ambiti e prestigiosi riconoscimenti a Roma, Trieste e a Bologna e vennero eseguite e trasmesse per radio alla Rai.
Michele Lizzi ottenne il successo di pubblico e di critica con tre opere liriche: il dramma lirico Pantea, su libretto del poeta Gerlando Lentini, ambientata nell’antica Akragas; L’amore di Galatea, su libretto di Salvatore Quasimodo; La Sagra del Signore della nave, su libretto dello stesso Lizzi tratto dall’omonima opera teatrale di Luigi Pirandello.
Il tratto che accomuna le opere del compositore agrigentino è la rivisitazione del mito e l’evocazione musicale di atmosfere e paesaggi della Grecia antica, nonché la ricerca di suggestioni sonore di un passato mitico.
http://www.regione.sicilia.it/beniculturali/dirbenicult/areariservata/eventi/EventiPubblicati/reportEventi_old.asp?cod=1453
L’esposizione Mousiké ad Akragas, con la presentazione delle raffigurazioni musicali sulle ceramiche attiche e magnogreche e sulla coroplastica conservate presso il Museo Archeologico Regionale, consente di conoscere elementi della cultura e della società greca in uno con aspetti significativi della musica.
Le ceramiche, provenienti dalle necropoli di Akragas (Contrada Pezzino, Contrada Mosè, Contrada Poggio Giache di Villaseta) e dalle necropoli di Monte Saraceno di Ravanusa, di Monte Adranone di Sambuca di Sicilia e di Vassallaggi di S. Cataldo, risalgono ad un periodo compreso fra la fine del VI e il IV sec. a.C.
Lo studio delle immagini musicali rappresenta “un ritrovato metodo di interpretazione del contesto musicale. Grazie alla ricca documentazione iconografica, vero e proprio «specchio» dell’immaginario musicale degli antichi Greci, possiamo ancora oggi essere a contatto con i luoghi cultuali e privati, gli esecutori e i destinatari immediati di ogni momento della catena composizione – trasmissione - recezione musicale” (Franco Alberto Gallo).
Le ceramiche mettono in evidenza come gli strumenti musicali trovino una precisa collocazione all’interno di scene mitiche, eroiche, teatrali e narrative. La varietà figurativa risente dell’evoluzione dell’ideologia funeraria che, nel periodo compreso tra la fine del VI e l’inizio del V sec. a.C., predilige il mondo mitico, e a partire dal 450 a.C., cominciano a comparire le tematiche funerarie.
Fra le divinità sono presenti Apollo, unico dio del pantheon greco legato direttamente e in modo esplicito alla musica; Artemide, Athena, Hermes, Eros e Dioniso. Nell’ampio panorama di scene musicali delle ceramiche attiche e magnogreche di Akragas sono presenti anche scene di simposio, di komos e di agoni musicali e ginnici; gli strumenti musicali in questi contesti assumono anche funzione simbolica.
Le statuette, provenienti soprattutto dalle aree sacre, appaiono connesse con eventi sonori nell’ambito dei riti delle divinità ctonie.
The paper argue that this approach is indispensable to understand the musical iconography of the in the Painted Ceiling of the Sala Magna of the Palazzo Chiaromonte at Palermo, known as Steri. The musical representations are depicted in scenes, belonging to the sacred and profane culture, linked to written and figurative sources of the Medieval Age.
fi eld combines the musicological studies and the archaeology and archaeogene cs research. The fi rst phase
of analysis was to study the musical instruments found at Crotone, Locri, Metaponto, di Poseidonia and Taranto. The
diff usion of the musical instruments in the South Italy enriched our knowledge on the musical instruments of the ancient
world. A new phase of research is the study of three tombs at Metaponto: they are excep onal for the rich grave
goods and for the presence of the turtle shells used as resonance box of the string musical instruments. The turtle
shells were next to the skeleton of the deceased s ll preserved.
Imagine a world where we could uncover the past by listening to music. Well, imagine no more, because sonic heritage does just that. Dr. Angela Bellia, Senior Researcher at the Institute of Heritage Science, explains how listening to music from different time periods contributes to experiencing places with all of our senses. As well as this, she discusses how technology such as computer-aided modelling is widening the scope of what was once thought possible.
When: 25th February 2021, h.9.00-12.30
How might using computational methods for processing the 3D models allow for a more accurate analysis of surfaces, volumes, internal structures, and density of materials of #ancientinstruments? How might these methods enable a non-invasive study of the instruments’ measurements and morphology, overcoming the limitations posed by their fragility?
Follow the webinar organised by CNR ISPC researcher Angela Bellia “From the Digitalisation to the Virtual Reconstruction and Sound Simulation of Ancient Musical Instruments: Methods, Results, Perspectives”
More details, the agenda and register link here: https://www.ispc.cnr.it/it_it/2021/02/15/cnr-ispc-on-air-ancient-musical-instruments-methods-results-perspectives/
https://soundcloud.com/angela-bellia/intervista-radio2-angela-bellia
http://www.ilfattoquotidiano.it/…/scuola-il-piano-…/1154208/
The Special Guest will be Antonella Bevilacqua, an expert in architectural acoustics, performance spaces, and noise control, who will present a talk titled "Acoustics and Heritage: New Methodologies for Preservation and Sound Reconstruction".
This event series aims to explore the relationship between acoustics, architecture, space, and environment, as well as methods related to anechoic recordings of music, sounds, and voices to be used for the auralisation of ancient sites, historic buildings, and archaeological locations.
To participate, registration is required at the following link: https://www.eventbrite.it/e/aural-architecture-and-heritage-science-tickets-860635061637
For more information about the event series and the guest, you can visit the webpage: https://www.ispc.cnr.it/it_it/eventienews/aural-event-series/?fbclid=IwZXh0bgNhZW0CMTAAAR21tsvKaLscE4LCnUQWRl-fztvYkRvoxGCrYhbW7qCFsldgWPsexBY0Mps_aem_-4z_mvISPGgWfrzzHCCBjA
See you online!
The University of Bologna will host this conference from September 5-7, 2023.
The Special Session on “Digital Approaches to Hearing the Past” will be chaired by our researcher Angela Bellia, scientific advisory board member of the I3DA, and by Antonella Bevilacqua (University of Parma). They are authors of the article “Rediscovering the Intangible Heritage of Past Performative Spaces: Interaction between Acoustics, Performance, and Architecture” (link: https://www.facebook.com/photo?fbid=673696761460977&set=a.314361304061193)
During the session Angela Bellia will give an overview on some interdisciplinary methodological issues which have emerged from the ongoing research project AURAL (https://www.ispc.cnr.it/it_it/2023/03/21/aural/) at the CNR ISPC on how digital methods and virtual acoustic reconstructions can improve our knowledge on sound experience and sound behavior in ancient places, performative spaces, and architectural structures. Her presentation “Listening in Ancient Spaces: Towards an Aural Architecture in the Past” will be focused on an emerging trend in humanities research, with a particular emphasis on the intersection of sacred space, rituals, and sound in the past.
The Scientific Programme is here: https://www.i3da2023.org/scientific-programme/
Find out more on the session here https://www.ispc.cnr.it/.../special-session-on-digital.../
Find out more on the session here https://www.i3da2023.org/digital-approaches-to-hearing-the-past/
Music, Sounds, and Rhythmical Movements in Funerary Contexts of the Ancient World
ANNUAL MEETING OF THE ARCHAEOLOGICAL INSTITUTE OF AMERICA
AND THE SOCIETY FOR CLASSICAL STUDIES
New Orleans, LA. January 5-8, 2023
Sponsored by the AIA Archaeomusicology Interest Group
Organiser: Angela Bellia, Institute of Heritage Science, National Research Council of Italy
The study of funerary practices in ancient societies has been profoundly renewed thanks to new archaeological discoveries as well as new approaches relating to performance. Within this context, the evidence offered by material culture should play a critical role in improving our knowledge of music, sounds, and dance, all of which constituted an important aspect of funerary ceremonies. Considering funerary rituals in the ancient world, this panel aims to explore material evidence related to musical performances, sounds, and rhythmical movements, and highlight the contribution of this evidence to a deeper understanding of the cultural, sensorial, and social meanings and functions of these performances, reconstructing the many different ways, spaces, and contexts in which they were experienced.
Some questions that papers for this colloquium could address are:
a) Which musical and dancing activities took place in funerary spaces and contexts? Which musical instruments and sound tools accompanied them?
b) How can material evidence improve our knowledge of music and body movements in the rituals performed during the handling of bodies of the deceased and the different moments of the funeral ceremony around and inside the tombs and the funerary spaces?
c) How can material evidence help us develop our knowledge of the range of sounds present during funerary rituals and the related soundscape (e.g. from sobs, shouts, groans and wails, to speeches and sung laments accompanied by musical instruments and/or ritualised movements)?
d) What are the symbolic, social, and religious meanings of material evidence of musical and dance interests found amongst grave goods or deposited in a tomb? Were musical and sound objects deposited in the tombs related to the status, age, or role of the deceased? Did they belong to professionals?
e) How can the presence of material evidence be connected to the idea that music and dance allow the deceased to transition to the afterlife? Is there a relationship between this function with religious beliefs?
f) How did ancient peoples experience dance and physical movements during funerary performances? Could ancient dances and body movements in funerary rituals reinforce the sense of belonging to a community? Who were the performers at these spaces? How did they contribute to the ritual dancescape?
g) How did music, sounds and rhythmical movements performed at the tombs improve the sensorial awareness of the mourners in space and environment?
These topics will be addressed through contributions by scholars working in various fields: archaeology, history of religion, history of dance, archaeomusicology, archaeology of performance, soundscape archaeology, sensory archaeology, anthropology, and art history.
Interested scholars should submit for consideration an abstract of approximately 250 words in length by Monday 14th March 2022 to the organiser, Angela Bellia (angbellia@gmail.com). If you have questions about whether an idea would fit with the theme, please feel free to contact Angela. In accordance with AIA regulations, all abstracts for papers will be read anonymously by two referees.
Registration is open here: https://aia-scs.secure-platform.com/a/organizations/main/home
6F: MATERIAL EVIDENCE OF DANCE PERFORMANCES IN THE ANCIENT WORLD (COLLOQUIUM)
ORGANIZER(S): Angela Bellia, Institute of Heritage Science – National Research Council of Italy and Erica Angliker, Institute of Classical Studies of London
Buildings that Dance: Choral Architecture in Stone and Text (15 minutes)
Deborah Steiner, Columbia University. New York (USA)
The Movement of Ritual and the Ritual of Movement in Ancient Egypt (15 minutes)
Batyah Schachter, Hebrew University of Jerusalem (Israel)
Dance Spaces on Apulian Vase-Paintings: The Case of the Veiled Dance (15 minutes)
Fábio Vergara Cerqueira, Universidade Federal de Pelotas (Brazil)
Spaces of Dance in Etruria (Sixth – Fifth centuries BCE) (15 minutes)
Audrey Gouy, University of Copenhagen (Denmark)
Prehistoric Pendants as Instigators of Sound and Body Movements: A
Traceological Case Study from Northeast Europe, circa 8200 cal. BP (15 minutes)
Rainio Riitta, University of Helsinki (Finland) and Gerasimov, Dmitry V., Peter the Great Museum of Anthropology and Ethnography (the Kunstkamera), Russian Academy of Science
Dance Costumes and the Inanimate Bodies of Ancient Dance (15 minutes)
Laura Gianvittorio-Ungar, Austrian Academy of Sciences (ÖAW)
Dancing at the Parian Sanctuary of Apollo on Despotiko: Tracing the Material Evidence (15 minutes)
Yannos Kourayos, Ministry of Culture and Sports (Greece), and Erica Angliker, Institute of Classical Studies of London
The 2022 Archaeological Institute of America (AIA) will take place January 5-8 and will be a virtual only event.
You can find programme to the link: https://www.archaeological.org/programs/professionals/annual-meeting/prelim-program/
Registration is open here: https://aia-scs.secure-platform.com/a/organizations/main/home
6F: MATERIAL EVIDENCE OF DANCE PERFORMANCES IN THE ANCIENT WORLD (COLLOQUIUM)
ORGANIZER(S): Angela Bellia, Institute of Heritage Science – National Research Council of Italy and Erica Angliker, Institute of Classical Studies of London
Buildings that Dance: Choral Architecture in Stone and Text (15 minutes)
Deborah Steiner, Columbia University. New York (USA)
The Movement of Ritual and the Ritual of Movement in Ancient Egypt (15 minutes)
Batyah Schachter, Hebrew University of Jerusalem (Israel)
Dance Spaces on Apulian Vase-Paintings: The Case of the Veiled Dance (15 minutes)
Fábio Vergara Cerqueira, Universidade Federal de Pelotas (Brazil)
Spaces of Dance in Etruria (Sixth – Fifth centuries BCE) (15 minutes)
Audrey Gouy, University of Copenhagen (Denmark)
Prehistoric Pendants as Instigators of Sound and Body Movements: A
Traceological Case Study from Northeast Europe, circa 8200 cal. BP (15 minutes)
Rainio Riitta, University of Helsinki (Finland) and Gerasimov, Dmitry V., Peter the Great Museum of Anthropology and Ethnography (the Kunstkamera), Russian Academy of Science
Dance Costumes and the Inanimate Bodies of Ancient Dance (15 minutes)
Laura Gianvittorio-Ungar, Austrian Academy of Sciences (ÖAW)
Dancing at the Parian Sanctuary of Apollo on Despotiko: Tracing the Material Evidence (15 minutes)
Yannos Kourayos, Ministry of Culture and Sports (Greece), and Erica Angliker, Institute of Classical Studies of London
The 2022 Archaeological Institute of America (AIA) will take place January 5-8 and will be a virtual only event.
Soundscape and Landscape at Panhellenic Greek Sanctuaries
122th ANNUAL MEETING
OF THE ARCHAEOLOGICAL INSTITUTE OF AMERICA
AND THE SOCIETY FOR CLASSICAL STUDIES
Chicago, IL, January 7-10, 2021
Sponsored by the AIA Archaeomusicology Interest Group
Organizers: Erica Angliker, Institute of Classical Studies. University of London and Angela Bellia, Institute of Heritage Science. National Research Council of Italy
DISCUSSANT: Esther Eidnow, University of Bristol
Krzysztof Bielawski, Institute of Classical Philology. Jagiellonian University, Kraków (Poland): Name by Name: Performance and Performers of the Delphic Paian(s) in Delphi, 127 BCE
Erica Angliker, Institute of Classical Studies. University of London (Great Britain): Music, Memory and Landscape at the Sanctuary of Delos
Fábio Vergara Cerqueira, Institute for Humanities Federal. University of Pelotas (Brazil): The Sounds of Auloi and Salpinx in the Sacred Landscape of Olimpia
Pamela Jordan, University of Berlin (Germany): Sounding the Mountain: Analyzing the Soundscape of Mount Lykaion’s Sanctuary to Zeus
Angela Bellia, Institute of Heritage Science. National Research Council (Italy): Soundscape and Landscape in the Sacred Spaces of the Past: The Case of the Heraia in Magna Graecia
Theme: Interpreting the archaeological record: artefacts, humans and landscapes
Organisers: Bellia, Angela (Institute for Archaeological and Monumental Heritage - National Research Council) - Mattioli, Tommaso
(Dept. Història i Arqueologia, Facultat de Geografia i Història Universitat de Barcelona)
Discussant: Discussant: Margarita Díaz-Andreu (Dept. Història i Arqueologia, Facultat de Geografia i Història Universitat de Barcelona)
The study of sound in archaeological contexts includes many subject areas that range from music archaeology to physics acoustics.
Each of these areas raises a number of challenges concerning the choice of the methodology and the methods to be adopted.
A key element in this selection pertains to the physical scale of the analysis of the auditory experience; this can vary from
the perception of sounds in a limited area up to interactions within large sonic environments. Although soundscapes have been
thoroughly discussed at a theoretical level, this type of analysis has so far been sparsely applied in archaeological research.
Therefore, some of the questions that papers for this session could address are: by putting sound back into an archaeological
landscape, would we be able to understand how people lived? Through examination of the sounds heard by people wandering
the landscape, would we be able to understand their culture and rituals in more depth? By reading (or re-reading) archaeological
landscapes, how could we model an ancient soundscape? How did the study of soundscape in the past help us add a new
dimension to our archaeological picture of ancient culture? How does technology enable us to understand the way sounds were
experienced in their original location?
These topics will be addressed through contributions of scholars working in various fields: archaeology, acoustic engineering,
archaeomusicology, soundscape studies, anthropology, neuropsychology and heritage.
Session Organizers: Angela Bellia (Italy) and Tommaso Mattioli (Spain) Discussant: Margarita Díaz-Andreu (Spain)
The study of sound in archaeological contexts includes many subject areas that range from music archaeology to physics acoustics. Each of these areas raises a number of challenges concerning the choice of the methodology and the methods to be adopted. A key element in this selection pertains to the physical scale of the analysis of the auditory experience; this can vary from the perception of sounds in a limited area up to interactions within large sonic environments. Although soundscapes have been thoroughly discussed at a theoretical level, this type of analysis has so far been sparsely applied in archaeological research. Therefore, some of the questions that papers for this session could address are: by putting sound back into an archaeological landscape, would we be able to understand how people lived? Through examination of the sounds heard by people wandering the landscape, would we be able to understand their culture and rituals in more depth? By reading (or re-reading) archaeological landscapes, how could we model an ancient soundscape? How did the study of soundscape in the past help us add a new dimension to our archaeological picture of ancient culture? How does technology enable us to understand the way sounds were experienced in their original location? These topics will be addressed through contributions of scholars working in various fields: archaeology, acoustic engineering, archaeomusicology, soundscape studies, anthropology, neuropsychology and heritage.
of the Archaeological Institute of America
and the Society for Classical Studies
Boston, Massachusetts, January 4-7, 2018
Organizers:
Angela Bellia and Sheramy Bundrick
https://www.archaeological.org/meeting/program
REPRESENTATIONS OF MUSICIANS IN THE COROPLASTIC ART OF THE ANCIENT WORLD: ICONOGRAPHY, RITUAL CONTEXTS AND FUNCTIONS
organized by ANGELA BELLIA and CLEMENTE MARCONI
Institute of Fine Arts, New York University
March 7, 2015
CALL FOR PAPERS
Terracottas figurines with representations of musicians are a privileged field of investigation in understanding the importance of music in both its production and performative contexts. Figurines of male and female musicians are emblematic of the close link between musical practice and the sacred and ritual spheres. They contribute not only to the reconstruction of what music and the production of music meant for ancient societies, but also provide information concerning the relationship of performance to the deities, and about which musical instruments were best suited to the particulars of diverse ritual occasions, including sacred and funerary contexts.
The analysis of terracotta figurines will take into account the presence and characteristics of different musical instruments, gestures, positions, and the clothing of both male and female musicians. The goal is to understand the status of the musicians and to interpret their musical and symbolic significance. Additionally, the terracottas will be analyzed in relation to the development of musical culture and their wider historical and social context.
These topics will be addressed through contributions by scholars working in various fields: archaeology, art history, musicology, history of religion, and anthropology.
Representations of Musicians in the Coroplastic Art of the Ancient World: Iconography, Ritual Contexts, and Function
organized by Angela Bellia and Clemente Marconi
March 7, 2015
1 East 78th Street, New York NY 10075
Afternoon Session:
Chair: Rebecca Miller Ammerman, Colgate University
Elçin Doğan Gürbüzer, Ege University, Izmir: The Terracotta Figurines with Stringed Instruments from the Sanctuary of Apollo Clarios
Alessandro Pagliara, Tuscia University, Viterbo: The Masks of the Dead: Music, Theater, and Burial Customs at Lipara in the Fourth to Third Centuries BCE
Arnaud Saura-Ziegelmeyer, Jean Jaurès Laboratory PLH-ERASME, University of Toulouse II – Le Mirail: The Sistrum on Terracottas: Human Instrument or Divine Attribute?
Daniela La Chioma Silvestre Villalva, University of São Paulo: The Social Roles of Musicians in the Moche World: An Iconographic Analysis of Their Attributes in the Middle Moche Period’s Ritual Pottery
Discussion
Angela Bellia, Department of Cultural Heritage, University of Bologna - Institute of Fine Arts, New York University: Conclusions
Representations of Musicians in the Coroplastic Art of the Ancient World: Iconography, Ritual Contexts, and Function
organized by Angela Bellia and Clemente Marconi
March 7, 2015
1 East 78th Street, New York NY 10075
Afternoon Session:
Chair: Claude Calame, École des Hautes Études en Sciences Sociales (Centre AnHiMA: Anthropology and History of the Ancient Worlds), Paris
Agnès Garcia-Ventura, University of Rome La Sapienza, and
Mireia López-Bertran, Universitat Pompeu Fabra, Barcelona:
Performing Music in Phoenician and Punic Rituals: A Coroplastic Approach
Daniele F. Maras, Italian Academy for Advanced Studies in America, Columbia University, New York: Gods, Men, Turtles: Terracotta Lyre-Players in Etruscan Votive Deposits
Sara Marandola and Donata Sarracino, University of Rome La Sapienza: The Representation of Musicians in the Archaic Architectural Terracottas from Etruria and Central Italy
Rebecca Miller Ammerman, Colgate University:
Tympanon and Syrinx: A Musical Metaphor within the System of Ritual Practice and Belief at Metaponto
Kiki Karoglou, The Metropolitan Museum of Art, New York:
Eros Mousikos
Discussion
Representations of Musicians in the Coroplastic Art of the Ancient World: Iconography, Ritual Contexts, and Function
organized by Angela Bellia and Clemente Marconi
March 7, 2015
1 East 78th Street, New York NY 10075
Poster Session presentations:
Maria Chidiroglou, National Archaeological Museum, Athens:
Terracotta Figurines of Musicians in the National Archaeological Museum in Athens
Gioconda Lamagna, Regional Archaeological Museum Paolo Orsi, Syracuse: Terracottas with Representations of Musicians from Adranon (Siciliy)
Lucia Lepore, University of Florence: Grotesque, Burlesque and Obscene Features in Greek Clay Figurines of Musicians and Dancers
Sam Holzman, University of Pennsylvania: Tortoise Shell Lyres from Gordion: the Domestic Context of Music and Ritual in 7th century Phrygia
Aura Piccioni, Institute for Classical Archaeology, Regensburg University: Cybele, Dionysus and the Tympanum: The Role of Musicians in Ecstasy
Representations of Musicians in the Coroplastic Art of the Ancient World: Iconography, Ritual Contexts, and Function
organized by Angela Bellia and Clemente Marconi
March 7, 2015
1 East 78th Street, New York NY 10075
Clemente Marconi, Institute of Fine Arts, New York University: Welcome and Introduction
Claude Calame, École des Hautes Études en Sciences Sociales (Centre AnHiMA: Anthropology and History of the Ancient Worlds), Paris: Choral Songs of Girls in Preclassical Sparta: Poetic Performance, Rhythmical Rituals, Musical Arts, Gendered Identities
Morning Session:
Chair: Jaimee Uhlenbrock, Association for Coroplastic Studies
Regine Pruzsinszky, Albert-Ludwigs University, Freiburg:
Musicians and Monkeys: Ancient Near Eastern Clay Plaques Displaying Musicians and their Socio-Cultural Role
Annie Caubet, Louvre Museum, Department of Near Eastern Antiquities, Paris: Musician Dwarves in Ancient Mesopotamia and Elam
Regine Hunziker-Rodewald, University of Strasbourg: Rethinking Females Figurines from Rabbath-Ammon and Beyond
Manolis Mikrakis, School of Architecture, National Technical University of Athens: Musical Performance, Society and Politics in Early First Millennium BCE Cyprus: Coroplastic and other Visual Evidence
Discussion
Sponsored by the AIA Archaeomusicology Interest Group
Organizers: Angela Bellia, Institute of Heritage Science, National Research Council of Italy and Erica Angliker, State University of Campinas-Unicamp
Discussant: Andrew Farinholt Ward, Fairfield University
Which Music and Dance Activities Took Place in Egypt’s Earliest Temples?
Heidi Köpp-Junk, Institute of Mediterranean and Oriental Cultures
Spaces and Sonic Settings inside the Mesopotamian Temples
Daniel Sánchez Muñoz, UBUabierta / CDL Murcia
A Dancing Floor at Tsimintiri-Despotiko?
Erica Angliker, State University of Campinas-Unicamp, and Yannos Kourayos, Minister of Culture and Sports, Director of the Excavations at Despotiko
The Choral Interpretation of the Architectural Articulation of Public Space in Archaic Greece: The Case of the Triglyph-Metope Pattern
Jesús Carruesco, Institut Català d’Arqueologia Clàssica, Universitat Rovira I Virgili (Spain)
Space and Artifacts as Choreographic Indicators at Timpone della Motta (Francavilla Marittima, Calabria)
Marianne Kleibrink, University of Groningen (Netherlands)
Architecture and Performance in Asia Minor. How the Chorus Configured Public Space in Ancient Greece
Marta Nicolás-Muelas, Catalan Institute of Classical Archaeology: Architecture and Performance in Asia Minor. How the Chorus Configured Public Space in Ancient Greece
AND THE SOCIETY FOR CLASSICAL STUDIES
https://www.archaeological.org/programs/professionals/annual-meeting/prelim-program/
New Orleans, LA. January 5-8, 2023
Sponsored by the AIA Archaeomusicology Interest Group
4A: “Music, Sounds, and Rhythmical Movements in Funerary Contexts of the Ancient World” (Colloquium)
The study of funerary practices in ancient societies has been profoundly renewed thanks to new archaeological discoveries as well as new approaches relating to performance. Within this context, the evidence offered by material culture should play a critical role in improving our knowledge of music, sounds, and dance, all of which constituted an important aspect of funerary ceremonies. Considering funerary rituals in the ancient world, this panel aims to explore material evidence related to musical performances, sounds, and rhythmical movements, and highlight the contribution of this evidence to a deeper understanding of the cultural, sensorial, and social meanings and functions of these performances, reconstructing the many different ways, spaces, and contexts in which they were experienced.
ORGANIZER(S): Angela Bellia, Institute of Heritage Science – National Research Council of Italy, Regine Hunziker-Rodewald, Strasbourg University, France, and Andrei Aioanei, Strasbourg University, France
DISCUSSANT: Erica Angliker, Institute of Classical Studies of London
Dance Movements in the Lycian Funerary Context Fabienne Colas-Rannou, Université Clermont Auvergne – Centre d’Histoire «Espaces et cultures» (France)
Music, Songs and Dance in Ancient Greek Afterlife (Representations on Funerary Offerings) Angeliki Liveri, Greek Ministry of Education and Religious Affairs (Greece)
Stringed Instruments at Funerary Monuments on the Italiote Vase-Paintings (Fourth century BCE) Fábio Vergara Cerqueira, Universidade Federal de Pelotas (Brazil)
Not only Bacchic Dances in Etruscan Tombs: Elisa Anzellotti, Tuscia University (Italy)
Archaeochoreology: Kalantaka and the Dance that Overcome Death Thaisa Martins, University of Rio De Janeiro – National Museum
Death Related Mesoamerican Music Instruments: A Sound Chimera Valeria Bellomia, Sapienza, University of Rome
Soundscape and Landscape at Panhellenic Greek Sanctuaries
Saturday, January 9, 2021 2:00 - 5:00PM (Local time in Chicago)
122TH ANNUAL MEETING OF THE ARCHAEOLOGICAL INSTITUTE OF AMERICA AND THE SOCIETY FOR CLASSICAL STUDIES
Sponsored by the AIA Archaeomusicology Interest Group
Organizers: Erica Angliker, Institute of Classical Studies. University of London and
Angela Bellia, Institute of Heritage Science. National Research Council of Italy
San Diego, California 3-6 2019
SESSION 6F: Colloquium
Musical and Choral Performance Spaces in the Ancient World
1:45–4:45 p.m. Marina Ballroom E
Sponsored by the AIA Archaeomusicology Interest Group
Musical and Choral Performance Spaces in the Ancient World
1:45–4:45 p.m. Marina Ballroom E
Sponsored by the AIA Archaeomusicology Interest Group
ORGANIZERS: Angela Bellia, National Research Council, Institute
for Archaeological, and Monumental Heritage, and Daniele Malfitana,
National Research Council, Institute for Archaeological and
Monumental Heritage
DISCUSSANT: Clemente Marconi, Institute of Fine Arts, New York
University
1:45 Introduction (10 min)
1:55 e2 nam-nar-ra: A Space for Royal Musical Performances in Ancient
Mesopotamia (20 min)
Daniel Sánchez Muñoz, Universidad de Granada
2:20 Sounds from the Sea: Reconsidering Cycladic Marble Musicians in
Their Archaeological Context (20 min)
Massimo Cultraro, National Research Council, Institute for
Archaeological and Monumental Heritage of Catania (Italy)
2:40 Break (10 min)
2:50 Dancing for Artemis at Brauron: Choreia and the Shaping of Sacred
Space (20 min)
Caleb Patrick Simone, Columbia University
3:15 Choro-Architecture: Archaic Choral Poetry and the Temple Column
(20 min)
Deborah Tarn Steiner, Columbia University
http://www.magazine.unibo.it/archivio/2016/06/15/l2019alma-mater-festeggia-201cin-casa201d-l2019antico-aulos-di-selinunte
A very important part of the TELESTES project is the study of an actual aulos that was found in two pieces in Temple R at Selinus in the summer of 2012 during the excavations by the mission of the Institute of Fine Arts - NYU. The aulos was uncovered in the Archaic to Classical levels of the temple that had been sealed by a deep fill of the Hellenistic period and were left untouched by earlier archaeological research at the site. Among the discoveries made in these levels was a votive deposit associated with the construction of the temple in ca. 580-570 BCE. It was within one of these deposits that two parts of the bone aulos were found.
This discovery at Selinunte is very significant, particularly with regard to the performance of music and ritual dancing associated with the cult activity of Temple R. The performance of choral dancing in this part of the main urban sanctuary of Selinunte is also suggested by the discovery in the area of Temple R of a series of fragments of Corinthian vases featuring chains of dancing women that conform to the so-called Frauenfest iconography. These discoveries show the importance of music at Selinus, the city of the poet and musician Telestes, already in the Early Archaic period.
«TELESTES» seeks to fill a gap in current scholarly publications and specialist periodicals on the archaeological evidence of musical and dance interest. It also aims to place musical and choral performances of the past into one clearly defined space and event in order to interpret their cultural significance, both religious and social, and to understand what music and making music and dance meant in ancient societies.
Furthermore, the Journal publishes papers on the study of sound and hearing along with related sensorial aspects in archaeological contexts and on past soundscapes and sonic fabrics (anthrophony, biophony, and geophony): this includes subject areas that range from the behaviour of sound in a sonic space and aural architecture to auditory experience and physical acoustics, as well as auditory archaeology and the importance of sound as a medium of social interaction in the past.
The Journal welcomes research on the broadly defined Mediterranean region and from other areas of the world, such as North Europe, Central and South America, Africa, Southeast Asia, and the Pacific Rim. Contributions pertaining to different periods are welcome. Cross-disciplinary and multi-disciplinary approaches would be particularly appreciated. The preferred language for the contributions is English, but other languages (including German, French, Italian and Spanish) are acceptable. At this stage, the goal for the Journal is to publish one issue per year with 5-6 contributions, with a total of ca. 200 pp. The preferred length for the contributions is 8,000 words. The format of the Journal will be 21, 5x31cm. The Journal will be published in both print and digital formats, the former in black and white and the latter in colour.
The digital issue will be available on www.libraweb.net.
Manuscripts should be sent to angbellia@gmail.com and will be subject to peer review by two anonymous readers. The deadline for the submission of manuscripts for the first issue is 30 November 2019.
Link: https://www.libraweb.net/promoriv.php?chiave=147
Please note the following call for papers for the session “From Landscape Archaeology to Soundscape Archaeology: Themes, Approaches, and Perspective” at the 25th Annual Meeting of the European Association of Archaeologists (EAA), to be held in Bern, Switzerland, from 4 to 7 September, 2019. This session aims to serve as a platform to promote discussion on a variety of themes related to Landscape Archaeology, Sound Archaeology, Archaeoacoustics, Archaeomusicology, Sensory Archaeology (see the session abstract below).
The deadline for submitting abstracts for consideration is 14 February 2019 via the EAA website:
https://submissions.e-a-a.org/eaa2019/
General information about the conference, venue, fees and detailed guidelines can be found on:
https://www.e-a-a.org/EAA2019/General_info/EAA2019/General_Info.aspx?hkey=ee3bc8fd-cdf2-4118-ac33-4ac5ba901587
Looking forward to hearing from you.
Yours sincerely,
Angela Bellia and Tommaso Mattioli
*****
Angela Bellia, Ph. D.
Marie Curie Researcher
Institute for Archaeological and Monumental Heritage (IBAM)
National Research Council (CNR)
Chair of the Archaeomusicology Interest Group (AMIG)
Archaeological Institute of America (AIA)
angbellia@gmail.com
https://nationalacademies.academia.edu/AngelaBellia
Tommaso Mattioli, Ph. D.
Senior Researcher
ERC project ArtSoundScapes
Dept. Història i Arqueologia, Facultat de Geografia i Història
Universitat de Barcelona, C/ de Montalegre, 6, 08001 Barcelona
tmattioli@ub.edu
mob +(39)3282268098
Speakers: Angela Bellia, Laia Colomer, Helen Dawson, Piero Gilento, Bettina Schulz Paulsson.
Notwithstanding local political divisions, Magna Graecia was a vigorous and multiform cultural entity marked by religious, ethical and artistic practices that are noticeably reflected in its music. Music was an element of elite identity and a factor of strong cultural cohesion in Southern Italy during the Greek age. 1 The music-related funerary images offer significant examples, the most famous of which is the Tomb of the Diver, dating from about 470–480 BCE, found in 1968 by Mario Napoli in a location called Tempa del Prete, situated 1.5 kilometers to the south of the walls of Poseidonia (Paestum). 2 The Greek polis was founded about 600 BCE by Greek colonists from Sybaris. 3 Having various borders, Poseidonia assumed the role of a mediator between the local Enotrian people, the " Sybaritian Empire " , and the rich and powerful Etruscan cities situated to the north [fig. 1]. 4 The Tomb of the Diver presents some questions, not only about the interpretation of the depicted scene on the inner surface of the roof-slab used to close the sarcophagus, but also about the represented symbolic elements. The tomb is made of five limestone slabs forming the four lateral walls and the roof. The floor was excavated in the natural rock ground. The enclosed chamber was roughly the size 215 × 100 × 80 cm. All five slabs were painted on the interior side using a fresco technique. The decoration was possibly produced by two artists, the south wall being by an inferior hand. On the underside of the roof-slab, there is a scene showing a nude young man diving into water from a building made of stone blocks. The scene could be showing the moment when the soul of the deceased transcends from the world of living to the afterlife [fig. 2]. On the four walls circling the tomb is represented a symposium in which ten people, lying on klinai, are taking part [fig. 3]. On the short west wall is represented the deceased as a nude young man, wearing only an aflutter cloak. He is walking and holding his left hand raised as a greeting. In front of him is walking a female aulos player wearing a transparent dress. Her short stature underlines her marginal role in the relationship to the other figures in the representation. Behind them is a male figure wearing an aflutter cloak and holding a stick [fig. 4]. On the long wall are depicted three klinai with male figures [fig. 5]. On the side is kline with a man replying to the greetings of the the " newcomer " , welcoming him by raising a cup of wine. With his left hand he pats the kline inviting the approaching man to sit next to him. In the welcoming he is joined by the two men laying together on the middle kline. The figure on the right is throwing out the last drop of wine, playing the kottabos. In this game the player throws the last drops of wine at a small plate poised to drop onto a metal disc placed underneath in order to obtain a sound. The other man lying behind is inviting the cupbearer to serve wine to their " new companion ". On the right kline is laying a couple of male lovers focused on their amorous displays, and unaware about the surrounding action. One of them is holding a stringed musical instrument that has an unusual form: from a tortoise shell used as a sound box come out two curved and connected arms. The strings are not fixed to the crossbar, but to the arms. 5 Is this a representation of some Italiot stringed instrument? On the other short east wall is shown a large krater on a table [fig. 6]. 6 33
Angela Bellia
Editorial
Agata M. C. Calabrese
Sensory Dimensions of Mortuary Rituals in Early Bronze Age Ugarit
DOI: 10.19272/202414701002
Fabienne Colas-Rannou
Dance Movements in the Lycian Funerary Context
DOI: 10.19272/202414701003
María Isabel Rodríguez López
Música y poesía en la iconografía de los vasos griegos: a propósito de un estamno conservado en el Museo Arqueológico Nacional de Madrid (inv. n. 11009)
DOI: 10.19272/202414701004
Valeria Rita Guarnera
Breve nota su alcune raffigurazioni musicali da Siracusa
DOI: 10.19272/202414701005
Patrizia Marra
Exhibiting the Unedited: The Virtuous Example of Per gli dei e per gli Uomini. Musica e danza nell’antichità at the National Archaeological Museum of Reggio Calabria
DOI: 10.19272/202414701006
Miriam Bueno Guardia
Acrobatic Dance and Processions in the Egyptian New Kingdom: The Beautiful Feast of the Valley and the Opet Festival
DOI: 10.19272/202414701007
Lidiane C. Carderaro dos Santos
The Interplay between Music and Mythology in the Iconography of Greek Vases: Representations of Mythological Figures with Musical Attributes
DOI: 10.19272/202414701008
Jean-Pierre Rossie
Sound Toys in North African and Saharan Children’s Toy and Play Cultures
DOI: 10.19272/202414701009
«Telestes» seeks to fill the gap between existing treatments of the subdiscipline of ‘archaeomusicology’, or ‘music archaeology’ – rooted quite self-consciously in the methods of ancient music and dance scholars – and the possibilities offered by the rather different perspectives that have recently emerged within archaeology, art history, archaeology of performance, and sensory studies. Although over the last decade various scholarly disciplines have devoted increasing attention to ancient music and dance, they have done so by focusing on textual sources. However, in reconstructing features of ancient music and dance performances, the evidence offered by material culture within its archaeological context, although overlooked in previous studies, should play a critical role. Considering music and dance performances in the ancient world, this international journal explores material evidence for music and dance, and highlight the contribution of this evidence to a deeper understanding of the cultural and social meanings and functions of music and dance within activities of ritual and everyday life, reconstructing the many different ways and contexts in which they were experienced. Thus, through an archaeological approach to performance that places musical and dance activities within an actual or symbolic space, the study of material evidence of music and dance interests constitutes a valuable investigation that can shed light on the ritual meaning and social function of sonic events, as well as on the role of musicians and dancers in antiquity. «Telestes» also aims to explore how the study of instruments and sound objects has involved a wide variety of disciplines within and beyond the boundaries of anthropology and archaeology, including sound and acoustics studies, archaeomusicology (such as, among others, ethnoarchaeomusicology), history of religion, classics, history, digital humanities, and digital heritage. The range of different contexts presented allows us to improve our knowledge with regard not only to the nature of the evidence and the different forms of documentation and sources related to instruments and sound objects, but also how sound contributed to giving a contextualised sense of ritual and social place. Investigating the role of music and dance as more than a mere accompaniment or a means of entertainment, this journal is particularly revealing in terms of how musical and dance performances are intertwined and inseparable from ritual aspects, each serving as a structure and framework for the other and providing set forms of action that are related to the religious and social beliefs of a given culture. The journal welcomes research on the broadly defined Mediterranean region and from other areas of the world, such as Northern Europe, Central and South America, Africa, Southeast Asia, and the Pacific Rim. Contributions pertaining to different periods are welcome. Cross-disciplinary and multi-disciplinary approaches would be particularly appreciated. The preferred language for the contributions is English, but other languages (including German, French, Italian and Spanish) are acceptable. Special issues focused on a specific research area are also envisaged.
http://www.libraweb.net/sommari.php?chiave=147&fbclid=IwAR3j4HcUMu_P3bpfXb_WJkwKb7RTepq8FrsEkqY4JbGQi4neee60k3C49OQ
Angela Bellia, Ricordo di Rita Gianfelice
Angela Bellia, Editorial
Daniel Sánchez Muñoz, Arnaud Saura-Ziegelmeyer, Sylvain Perrot, Sounds of Copper and Bronze: Metonymies of Copper and Bronze as Sound Objects in the Ancient World
Eleonora Colangelo, Shining Lyres, Brilliant Sounds: Technical Materiality and the Vocabulary of Light Reflected in Attic Inscriptions
Kamila Wysłucha, ‘Tibia Orichalco Vincta’: Orichalcum (Brass) and Musical Instruments at the End of the 1st c. BCE
Heidi Köpp-Junk, Clappers in Ancient Egypt : Wood or Ivory for the Same Event or Ritual?; Lidia Izquierdo Torrontera, An Overview on Musical Iconography in the Iberian Culture (6th-1st c. BCE)
Dylan Lawrence Gibson, Translating Ancient Near-Eastern Musical Language: An Africanist Inspired Perspective
Book review: Valeria Bellomia, Ascoltare un osso umano. L’omichicahuaztli, dalla Mesoamerica Preispanica alla vetrina di un museo (Angela Bellia).
Rivista annuale / A Yearly Journal
Direttore / Editor-in-Chief Angela Bellia (National Research Council, Italy)
Comitato scientifico / Editorial board:
Erica Angliker, University of London; Eleonor Betts, The Open University; Sheramy D. Bundrick, University of South Florida St Petersburg; Licia Buttà (University of Tarragona); Margarita Díaz-Andreu, University of Barcelona; Ingrid Furniss, La Fayette College, Pennsylvania; Agnès Garcia-Ventura, Universitat Autònoma de Barcelona; Laura Gianvittorio-Ungar, Austrian Archaeological Institute of Wien; Michael Given, University of Glasgow; Audrey Gouy, University of Copenhagen; Ewa Anna Gruszczynska-Ziólkowska, University of Warsaw; Raquel Jiménez Pasalodos, University of Barcelona-University of Valladolid; Cristina Manzetti, Foundation for Research and Technology - Hellas, Institute for Mediterranean Studies; Clemente Marconi, New York University - University of Milan; Tommaso Mattioli, University of Barcelona; Manolis Mikrakis, National Technical University of Athens; Steve Mills, University of Cardiff; Dimitrij Mlekuz, University of Ljubljana; Riitta Rainio, University of Helsinki; Arnaud Saura-Ziegelmeyer, University of Toulouse II Jean Jaurès; Karin Schapbach, University of Fribourg; Lamberto Tronchin, University of Bologna; Fábio Vergara Cerqueira, University of Pelotas; Alexandre Vincent, University of Poitiers.
Redazione/Associate Editors
Arnaud Saura-Ziegelmeyer (University of Toulouse II Jean Jaurès)
Daniel Sánchez Muñoz (University of Granada)
«Telestes» is an International Peer-Reviewed Journal
https://libraweb.voxmail.it/user/ws1nagy/show/jkeix4?_t=a44c59e9&fbclid=IwAR3ROScD8xY5bqPXBJaoNTdVoYFsueyPYDdAQgRb942ThCkDvVZKPj9Ul34
«TELESTES» seeks to fill the gap between existing treatments of the sub-discipline of ‘archaeomusicology’, or ‘music archaeology’ – rooted quite self-consciously in the methods of ancient music and dance scholars – and the possibilities offered by the rather different perspectives that have recently emerged within archaeology, art history, archaeology of performance, and sensory studies. Although over the last decade various scholarly disciplines have devoted increasing attention to ancient music and dance, they have done so by focusing on textual sources. However, in reconstructing features of ancient music and dance performances, the evidence offered by material culture within its archaeological context, although overlooked in previous studies, should play a critical role.
Considering music and dance performances in the ancient world, this new international journal will explore material evidence for music and dance, and highlight the contribution of this evidence to a deeper understanding of the cultural and social meanings and functions of music and dance within activities of ritual and everyday life, reconstructing the many different ways and contexts in which they were experienced.
Thus, through an archaeological approach to performance that places musical and dance activities within an actual or symbolic space, the study of material evidence of music and dance interests constitutes a valuable investigation that can shed light on the ritual meaning and social function of sonic events, as well as on the role of musicians and dancers in antiquity.
«TELESTES» also aims to explore how the study of instruments and sound objects has involved a wide variety of disciplines within and beyond the boundaries of anthropology and archaeology, including sound and acoustics studies, archaeomusicology (such as, among others, ethnoarchaeomusicology), history of religion, classics, history, digital humanities, and digital heritage.
The range of different contexts that will be presented in this new journal will allow us to improve our knowledge with regard not only to the nature of the evidence and the different forms of documentation and sources related to instruments and sound objects, but also how sound contributed to giving a contextualised sense of ritual and social place. Investigating the role of music and dance as more than a mere accompaniment or a means of entertainment, this journal will be particularly revealing in terms of how musical and dance performances are intertwined and inseparable from ritual aspects, each serving as a structure and framework for the other and providing set forms of action that are related to the religious and social beliefs of a given culture.
Furthermore, the journal publishes papers on the study of sound and hearing along with related sensorial aspects in archaeological contexts and on past soundscapes and sonic fabrics (anthrophony, biophony, and geophony): this includes subject areas that range from the behaviour of sound in a sonic space and aural architecture to auditory experience and physical acoustics, as well as auditory archaeology and the importance of sound as a medium of social interaction in the past.
The journal welcomes research on the broadly defined Mediterranean region and from other areas of the world, such as Northern Europe, Central and South America, Africa, Southeast Asia, and the Pacific Rim. Contributions pertaining to different periods are welcome. Cross-disciplinary and multi-disciplinary approaches would be particularly appreciated. The preferred language for the contributions is English, but other languages (including German, French, Italian and Spanish) are acceptable. Special issues focused on a specific research area are also envisaged.
As a guarantee of the high scientific value of the journal, the rigorous application of these methodologies will be surveyed by an International Scientific Committee whose scholars have welcomed the initiative with approval and enthusiasm, as a guarantee of the high scientific value of the journal, and will edited in Italy by Fabrizio Serra editore, a well-established international publishing house of authoritative tradition.
Last but not least, this new international publication also aims to encourage young scholars to submit their work, thus offering a valuable opportunity to disseminate their research findings in the hope that they will respond with enthusiasm to this new editorial project.
CONTENTS
FERNANDO A. COIMBRA, The Contribution of Rock Art for Understanding the Origins of Music and Dancing
ANGELIKI LIVERI, Soundscape of Public Festivals in Athens (Panathenaia and City Dionysia)
FÁBIO VERGARA CERQUEIRA, The ‘Apulian Cithara’ on the Vase-Paintings of the 4th c. BC: Morphological and Musical Analysis
ANGELA BELLIA, Sounds of Childhood in the Ancient World
CLAUDINA ROMERO MAYORGA, Music in Mystery Cults: Towards a Comprehensive Catalogue
JEAN-CHRISTOPHE VALIÈRE, BÉNÉDICTE BERTHOLON, VASCO ZARA, DAVID FIALA, Experimenting with the Acoustic Pots Chamber of Noyon Cathedral (late 16th c.?): An Archaeoacoustic and Musicological Investigation
JOSÉ NICOLÁS BALBI, ISABELLA LEONE, GUSTAVO MANUEL CORRADO, Sound of the Stones: A Preliminary Survey in an Inka Temple of the Argentine Andes
The Journal welcomes research on the broadly defined Mediterranean region and from other areas of the world, such as North Europe, Central and South America, Africa, Southeast Asia, and the Pacific Rim. Contributions pertaining to different periods are welcome. Cross-disciplinary and multi-disciplinary approaches would be particularly appreciated.
The preferred language for the contributions is English, but other languages (including German, French, Italian and Spanish) are acceptable.
At this stage, the goal for the Journal is to publish one issue per year with 5-6 contributions, with a total of ca. 200 pp. The preferred length for the contributions is 8,000 words. The format of the Journal will be 21, 5x31cm. The Journal will be published in both print and digital formats, the former in black and white and the latter in colour. The digital issue will be available on www.libraweb.net. Manuscripts should be sent to angbellia@gmail.com and will be subject to peer review by two anonymous readers. The deadline for the submission of manuscripts for the first issue is 30 November 2019.
Link: https://www.libraweb.net/promoriv.php?chiave=147
Può il suono aumentare il coinvolgimento dei visitatori delle ricostruzioni virtuali di siti archeologici? Come possono essere usate le tecnologie applicate al suono in ambiente artificiale per aiutarci a comunicare come gli esseri umani si relazionavano e si relazionano con lo spazio circostante? Può la realtà virtuale ricreare il paesaggio sonoro del passato?
Sono queste alcune delle tematiche che saranno affrontate nel corso dell’evento online curato da Angela Bellia ed Eva Pietroni all’Istituto di Scienze del Patrimonio Culturale (ISPC) del CNR. L’iniziativa si inserisce nell’ambito dell’Anno Internazionale del Suono 2020-2021 (International Year of Sound – IYS 2020-21), un’iniziativa globale riferita alla “Charter of Sound” UNESCO n. 39C/59, che ha l’obiettivo di evidenziare l’importanza del suono in tutti gli aspetti della vita e dell’ambiente naturale, nonché la necessità del controllo del rumore sia nell’ambiente urbanizzato che in quello dei luoghi di lavoro, di formazione, di accoglienza e di cura, incoraggiando anche la comprensione degli sviluppi scientifici e l’applicazione tecnologica riguardante sia gli aspetti fisici del suono sia quelli della sua percezione.
Il webinar mira ad esplorare come lo sviluppo di strumenti interattivi finalizzati a coinvolgere i visitatori come “soundwalker” di ricostruzioni virtuali di siti archeologici o luoghi di interesse storico-culturale e architettonico e del loro “historical soundscape” possa aprire nuove prospettive di ricerca non soltanto sulle applicazioni di Immersive Virtual Reality, ma anche sul rapporto tra suono e interazione multisensoriale in ambiente virtuale. Infatti, nel corso degli ultimi anni, attraverso l’Immersive Virtual Reality, è stato possibile sperimentare nuove opportunità di progettazione multisensoriale che combina strumenti e tecniche di modellazione e di Virtual Reality Experience in ambito acustico con il pieno coinvolgimento dell’apparato percettivo del visitatore.
Si intende, dunque, porre l’attenzione su come l’esperienza immersiva multisensoriale - ed in particolare l’interazione tra vista e udito nelle ricostruzioni virtuali, senza escludere l’apporto degli altri sensi - possa favorire una più profonda comprensione dei luoghi e degli spazi dove il suono, inteso come insieme di musica, sonorità dell’ambiente e rumori, veniva prodotto e percepito. Inoltre, stimolando l’indagine sul “sonic heritage”, l’incontro ha anche lo scopo di contestualizzare e valorizzare lo studio dell’antropofonia, della geofonia e della biofonia del passato e della “digital audible history” come patrimonio culturale da conoscere, preservare e comunicare anche attraverso gli strumenti e le applicazioni per l’interazione con il mondo virtuale.
Tenendo conto di quanto è emerso nel corso del progetto di ricerca STESICHOROS finanziato dale Marie Skłodowska-Curie Actions Individual Fellowship, saranno poste le basi per un metodo innovativo che terrà conto non soltanto delle potenzialità dell’applicazione della tecnologia 3D all’acustica virtuale, ma anche della ricerca acustemologica che considera il suono come strumento di conoscenza attraverso l’intreccio di relazioni che lo lega ai luoghi, allo spazio e al corpo, fornendo nuovi strumenti di analisi e di valutazione dell’impatto delle esperienze immersive e della comunicazione sonora nel patrimonio culturale.
Si discuterà anche di come il suono e il “soundscape” venga usato nei vari media: realtà virtuale, videogiochi, cinema, documentario, secondo regole codificate in modo diverso, al fine di conferire credibilità e verosimiglianza allo spazio simulato, di evocare situazioni e di coinvolgere percettivamente ed emotivamente il visitatore. Queste regole, che sono ormai entrate nell’industria delle grandi produzioni, seguono principi artistici più vicini alla psico-acustica che alla riproduzione scientifica e filologica del suono, o alla sua presa diretta, nello spazio simulato. Esse sono diventate parte dei linguaggi, creando un’aspettativa, un’accettazione e un’identificazione da parte del pubblico in questi universi sonori “artificialmente costruiti”. La realtà virtuale, immersiva e non immersiva, è attualmente l’ambito in cui il margine di sperimentazione resta più aperto a future evoluzioni e nuove proposte, anche all’insegna di una simulazione scientificamente fondata sulla propagazione del suono in uno spazio acustico reale o digitalmente ricostruito.
Una ricerca molto interessante, in prospettiva futura, sarà testare diversi approcci di simulazione e riproduzione sonora su un campione di utenti, in relazione a varie tipologie di ambientazioni e vari media, così da analizzare il feedback in termini di percezione, impatto estetico e cognitivo, attenzione, memorizzazione.
Questi argomenti saranno trattati attraverso i contributi di ricercatori impegnati in vari campi: applicazioni immersive in ambito acustico; archeologia; archaeologia del suono; antropologia del suono e acustemologia; comunicazione; design acustico; 3D modelling; ecoarcheologia; ingegneria acustica; sound arts; video games; virtual heritage.
This is the link to the AMIG: https://www.archaeological.org/committee/archaeomusicology-interest-group/?fbclid=IwAR2vXqz5DPc7eHCfNOf6i40XSh3dY-ls8jBNOzBw0ND6qqaWEZc2A7jut14
Archaeological Approaches to Dance Performance: Methods and Perspectives
https://www.ispc.cnr.it/it_it/2021/11/16/cnr-ispc-on-air-archaeological-approaches-to-dance-performance/?fbclid=IwAR13dM6flmS9MYJ8yPqhAoMoA-1RdSVsu1tArMRPdvAbVMmEnTapyVGPBRs
L'evento si inserisce nell'ambito dell'Anno Internazionale del Suono 2020-2021 (International Year of Sound-IYS 2020-21), un'iniziativa globale riferita alla "Charter of Sound" UNESCO n. 39C/59, che ha l'obiettivo di evidenziare l'importanza del suono in tutti gli aspetti della vita e dell'ambiente naturale, nonché la necessità del controllo del rumore sia nell'ambiente urbanizzato che in quello dei luoghi di lavoro, di formazione, di accoglienza e di cura, incoraggiando anche la comprensione degli sviluppi scientifici e l'applicazione tecnologica riguardante sia gli aspetti fisici del suono sia quelli della sua percezione. Il webinar mira ad esplorare come lo sviluppo di strumenti interattivi finalizzati a coinvolgere i visitatori come "soundwalker" di ricostruzioni virtuali di siti archeologici o luoghi di interesse storico-culturale e architettonico e del loro "historical soundscape" possa aprire nuove prospettive di ricerca non soltanto sulle applicazioni di Immersive Virtual Reality, ma anche sul rapporto tra suono e interazione multisensoriale in ambiente virtuale. Infatti, n el corso degli ultimi anni, attraverso l'Immersive Virtual Reality, è stato possibile sperimentare nuove opportunità di progettazione multisensoriale che combina strumenti e tecniche di modellazione e di Virtual Reality Experience in ambito acustico con il pieno coinvolgimento dell'apparato percettivo del visitatore. Si intende, dunque, porre l'attenzione sul "sonic heritage" con lo scopo di porre le basi per un metodo innovativo che terrà conto non soltanto delle potenzialità dell'applicazione della tecnologia 3D all'acustica virtuale, ma anche della ricerca acustemologica che considera il suono come strumento di conoscenza attraverso l'intreccio di relazioni che lo lega ai luoghi, allo spazio e al corpo, fornendo nuovi strumenti di analisi e di valutazione dell'impatto delle esperienze immersive e della comunicazione sonora nel patrimonio culturale.
25th February, 2021
Organiser Angela Bellia
Moderator Alfonsina Pagano
How might using computational methods for processing the 3D models allow for a more accurate analysis of surfaces, volumes, internal structures, and density of materials of ancient instruments? How might these methods enable a non-invasive study of the instruments’ measurements and morphology, overcoming the limitations posed by their fragility?
These are the topics of the webinar From the Digitalisation to the Virtual Reconstruction and Sound Simulation of Ancient Musical Instruments: Methods, Results, Perspectives, which will take place on Thursday, 25th February. This webinar aims to discuss how digital technologies based on 3D modelling and sound simulation can expand our knowledge of ancient musical instruments. As it has emerged from the STESICHOROS project – which has been funded by the European Commission’s Marie Skłodowska-Curie Actions programme –, studies on 3D virtual reconstructions and sound simulations can help us in defining novel approaches and methodologies not only for the “active preservation” of musical instruments, but also in enriching our understanding of ancient music and musical cultural heritage.
Although reconstructions cannot tell us unequivocally how ancient users and audiences perceived the sounds of these instruments, they offer the chance to break through the time barrier by reviving sound emissions. By combining optical metrology with computational analysis, some of the subjective observations on ancient instruments can be substituted by measurable parameters, opening up new perspectives for the study of sounds and the artisan production process of ancient instruments.
Moreover, the webinar aims to explore the ancient sonic interactions and the spatial configuration of sanctuaries and theatres in their respective landscapes and environment in order to investigate the use of auralisation technology in the archaeological field, as well as experimental interpretative 3D reconstruction integrating acoustic models.
These topics will be addressed through the contributions of scholars working in various fields, including: archaeology, archaeomusicology, information engineering, interactive museums, musical heritage, physics, and virtual heritage.
STESICHOROS project: https://cordis.europa.eu/project/id/792058/it
Marie Skłodowska-Curie Actions: https://ec.europa.eu/research/mariecurieactions/node_en
In this session we aim to fill this gap discussing several aspects of the interaction between working and music/sounds through a fresh look of material culture that shed light on the potentialities of objects and architectures as creators of a wide array of sounds that participated in the creation of taskscapes in working environments. Notice that we use indiscriminately and intentionally music and sounds as synonyms as we also aim at discussing the definition of their boundaries. In doing so, we aim to include in the debates on soundscapes issues as diverse as work songs, traditionally considered “music”, but also the crackle of fire or the pounding of mortars, to name two examples, traditionally considered “sounds” (or even “noise”).
How do we define these conceptual borders in working environments? Why? Are they useful for our analysis or they hide more than what they show? To discuss all these issues we encourage contributions by scholars dealing with any period and geography as well as various perspectives: history of religion, archaeomusicology, archaeoacoustics, sound archaeology, ecoarchaeology, classics, anthropology, and art history. Interdisciplinary and multidisciplinary research will be welcome, especially research on archeoacustics based on contemporary analysis like Soundshed Analysis GIStool among others.
This event series aims to explore the relationship between acoustics, architecture, space, and environment, as well as the methods concerning anechoic recordings of music, sounds, and voices to be used in the auralisation of ancient places, historical buildings, and archaeological sites.
The third appointment is:
November 20, 2024 | h 4pm
In person | NAPLES, CNR ISPC Headquarters, Via Cardinale Guglielmo Sanfelice 8
Online | Microsoft Teams
Guest speaker :Vasco Zara
“Recreating the Past. New Technologies as Challenge for Musicology”
The presentation relates research projects on digital architectural (3D), musical and acoustic (4D, sound spatialization) reconstructions of sacred Renaissance buildings that have now disappeared – in this case the collegiate church of Saint-Martin in Tours (second half of the 15th century) and the Sainte-Chapelle de Dijon (first half of the 16th century). Together with the in situ reconstructions of musical performances in the following century in a courtly context (liturgical celebrations and recreational occasions), a methodological reflection is proposed on the added value that new technologies can bring not only to scientific mediation, but also to research, in this case musicological research, from both a historical and epistemological point of view.
Vasco Zara is Professeur at the Université de Rouen Normandie, researcher at the UR 3229 CÉRÉdI, and associated member of the Centre d’études supérieures de la Renaissance (Tours).
📌 La lauda come osservatorio privilegiato del rapporto tra musica e poesia nel medioevo italiano 📌
📆 29 ottobre 2024
⏰️ Ore 16.00
🎯 In presenza Napoli, CNR ISPC
💻 Online piattaforma Microsoft Teams
📆 🎶 Il prossimo 29 ottobre alle ore 16:00 si terrà il secondo appuntamento della serie di incontri dal titolo “Archeologia della performance musicale e della danza”, organizzata dalla nostra ricercatrice Angela Bellia nell’ambito del progetto di ricerca PNRR “AURAL - Exploring the PotentiAl of Immersive VirtUal ReALity for Experiencing Archaeological Soundscapes”, di cui è Principal Investigator.
🎶 Il ciclo di appuntamenti si propone di esplorare le diverse occasioni del “fare musica” nell’antichità e di comprendere il legame tra suono e movimento corporeo con la sfera sacra e rituale attraverso l’evidenza materiale e le testimonianze scritte e figurative che permettono di immergerci nel mondo musicale e della danza nel passato.
🏢 💻 Il secondo incontro si terrà sempre a Napoli, presso la sede centrale del nostro Istituto (via Cardinale Guglielmo Sanfelice 😎 in forma ibrida e vedrà Angela Bellia e Gemma Colesanti (CNR ISPC) dialogare con Francesco Zimei, professore ordinario di Musicologia e Storia della musica all’Università di Trento e Principal Investigator del progetto ERC Advanced Grant LAUDARE – The Italian Lauda: Disseminating Poetry and Concepts Through Melody (12th-16th centuries).
🎤 🙋 Nel corso dell’incontro l’invited speaker Francesco Zimei si soffermerà sulla lauda, genere poetico-musicale che, a partire dalla seconda metà del XII secolo, segnò la nascita e la diffusione del canto in lingua italiana.
ℹ Per ulteriori dettagli sulla serie di eventi, per consultare il programma completo o seguire l’evento online, vi invitiamo a visitare la pagina web: https://www.ispc.cnr.it/it_it/eventienews/aural-archeologia-della-performance-musicale-e-della-danza/?fbclid=IwY2xjawGLWPtleHRuA2FlbQIxMAABHYwH4gwA_8cIW_b5z7eM2XMh7vWSZV8uOx2NS7Te2dP0aCriVA9zJvMyAw_aem_SK4-xd5srgUE-UUipPS3gQ
Questo è il link per seguire l'evento online: https://teams.microsoft.com/dl/launcher/launcher.html?url=%2F_%23%2Fl%2Fmeetup-join%2F19%3Ameeting_NjQ1NDk1MTctNDliMy00Mjk5LThkYTgtY2Q4MTVhNzIxZDg1%40thread.v2%2F0%3Fcontext%3D%257b%2522Tid%2522%253a%252234c64e9f-d27f-4edd-a1f0-1397f0c84f94%2522%252c%2522Oid%2522%253a%252203fd03aa-c690-4643-9767-8b38de8ee391%2522%257d%26anon%3Dtrue&type=meetup-join&deeplinkId=a4b23b09-3341-42a7-bd73-56124e176a70&directDl=true&msLaunch=true&enableMobilePage=true&suppressPrompt=true&fbclid=IwY2xjawGLWfBleHRuA2FlbQIxMAABHT437YbNocNZllv22XiPhc0k28SJJUiBEhqJoQ0V0j9LiewZ9mk9rL0rXg_aem_Yb07X6dJD-Xod3K7VjkE4g
The first paper discusses an underexamined inscription in order to reconstruct the historical, topographical and artistic context in which the hymn was performed at the sacred spaces in Delphi. Moving to another major Greek sanctuary, the second paper examines votives and inscriptions from Delos that mention musicians and musical instruments in order to show how the memory of the musical festivals was integrated into the various landscapes of the sanctuary. The third paper reconstructs the soundscape of the Olympia by examining understudied epigraphical and iconographical evidence from the sanctuary that makes it possible to reintegrate the sounds of the aulos and salpinx within the landscape of the athletic competitions at the sanctuary. Moving to the sanctuary of Zeus on Mount Lykaion, the fourth paper examines the architectural remains at the site by considering the unusual sonic properties of these spaces. By combining binaural recording technology with psychoacoustic analyses and site mapping, it determines the relations between sounds in the mountainous terrain to determine how sonic properties influenced the arrangements of the sacred space. The last paper in this panel investigates the sounds and sights of the sacred space of the Heraia in Posidonia in southern Italy. An examination of the sanctuary’s buildings, their relations to movement and their capability to physically accommodate musicians and dancers, reveals that certain places within the sanctuary were distinguished as loci of sonic events.
Collectively, the papers presented in this section present innovative frameworks for recreating the sonic landscape at ancient Greek sanctuaries and show how something as ephemeral as sound can be reintegrated into the reconsideration of spaces.
The panel begins with an examination of recently excavated and still-unpublished terracotta from the Petsas house (LBA) that analyzes consumers’ choice by comparing data about the range of figurines available to consumers with information about the figurines’ depositional context. The second paper explores the terracotta figurines of two sanctuaries in the Iron Age Cypriot city-kingdom of Marion to see how different cult practices impacted the choice of iconography and how this iconography subsequently changed over time. Moving to the Acropolis in Athens, the third paper considers the uses of Archaic generic figurines at this location by comparing the uses of similar items at other Archaic sanctuaries in Greece. The next paper studies Archaic figurines from temple G in Agrigento (6th-5th century BC) to understand the use of the sacred area before the building of the temple and its altar during the Classical period. The paper sheds light on many little-known ritual activities which took place during the Archaic period. Next is an exploration of the development of figurines at Eleon (6th -4th centuries BC) and the implications of changes in ritual practices. The discussion progresses with a paper which discusses the disappearance of piglet figurines at Sicilian sanctuaries (end of the 4th century BC) and their relation to changes in the cult of Demeter and Kore. The last paper of this panel examines a corpus of Corinthian comic terracotta figurines (dating from the Late Classical to Hellenistic periods) found at various locations (sanctuaries, shrines and market centers) demonstrating that these figurines had more than one function. Together, the papers of this panel will explore new questions and methodologies regarding the use of terracottas.