TELESTES by Ingrid Furniss
TELESTES. An International Journal of Archaeomusicology and Archaeology of Sound
Rivista annuale... more TELESTES. An International Journal of Archaeomusicology and Archaeology of Sound
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
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by Angela Bellia, Erica Angliker, Licia Butta, Ingrid Furniss, Agnès Garcia-Ventura, Audrey Gouy, Cristina Manzetti, Manolis Mikrakis, Dimitrij Mlekuz Vrhovnik, Arnaud Saura-Ziegelmeyer, Laura Gianvittorio-Ungar, and Alexandre Vincent http://www.libraweb.net/Documenti/Telestes_Depliant.pdf
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Papers by Ingrid Furniss
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Nan nü, Nov 9, 2022
This paper explores the theme of the horse- and camel-riding lute player appearing in Chinese art... more This paper explores the theme of the horse- and camel-riding lute player appearing in Chinese art and texts as early as the Han dynasty (206 BCE-220 CE). Such works reflect the expansion of trade with Central Asian peoples in late Han, when texts first mention the introduction of lutes by steppe peoples who themselves played them on horseback. Many subsequent texts, poems, and works of art, particularly during the Tang dynasty (618-907), expand on this idea, highlighting not only the instrument’s steppe origins and association with non-Han men but also elite Han women, particularly those sent to the border regions as diplomatic brides. Drawing primarily on Tang writings and works of art, this paper examines issues of gender, social status, ethnicity and the complex meanings of the lute-playing, camel-riding theme and its depiction in art.
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Yearbook for Traditional Music, 2009
In the past three decades, the study of music in ancient China has expanded significantly with th... more In the past three decades, the study of music in ancient China has expanded significantly with the discovery of numerous tombs containing musical instruments. These finds have revealed substantial information about ancient music theory and organology. One issue that has remained on the periphery, however, is the study of the musicians themselves. From the Eastern Zhou (770–221 BCE) to Tang (618–907 CE) periods, musicians fell broadly into three groups: (1) formal musicians who performed for important ritual occasions and state sacrifices; (2) informal musicians who provided entertainment for banquets and other less formal occasions; and (3) military musicians who performed in processions. Formal musicians generally specialized in yayue (refined music), the official music of the royal Zhou court. Yayue continued to be played in formal ritual settings at court long after the Zhou period. Informal and military musicians specialized in less traditional forms of music, such as suyue (“popular” or “folk” music) and foreign music. Formal and informal musicians appear in the archaeological record as early as Eastern Zhou, while military musicians appear slightly later in the Han. Of these three groups, informal musicians appear to have been most popular among elite audiences, especially between the Han (206 BCE–229 CE) and Tang periods. These musicians were often paired with lively dancers, acrobats, sword-swallowers, and jesters, indicating the entertainment—rather than formal—nature of the music they performed. As demonstrated by sculptural works and mural paintings excavated from Han through Tang tombs, the most common types of musicians outside the more formal music sectors at court were foreigners, dwarfs, idealized women, and scholarly recluses. This paper will focus on archaeological and textual evidence for the existence of these informal musicians as early as Shang (c. 1570–1070 BCE) and Eastern Zhou, and the rising popularity of such performers in the period from Han to Tang. I hope to show that the very social marginality of informal musicians is exactly what enhanced their exoticism and popular appeal among their elite audiences.
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China Review International, 2009
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NAN NÜ
This paper explores the theme of the horse- and camel-riding lute player appearing in Chinese art... more This paper explores the theme of the horse- and camel-riding lute player appearing in Chinese art and texts as early as the Han dynasty (206 BCE-220 CE). Such works reflect the expansion of trade with Central Asian peoples in late Han, when texts first mention the introduction of lutes by steppe peoples who themselves played them on horseback. Many subsequent texts, poems, and works of art, particularly during the Tang dynasty (618-907), expand on this idea, highlighting not only the instrument’s steppe origins and association with non-Han men but also elite Han women, particularly those sent to the border regions as diplomatic brides. Drawing primarily on Tang writings and works of art, this paper examines issues of gender, social status, ethnicity and the complex meanings of the lute-playing, camel-riding theme and its depiction in art.
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Zwischen dem 5. und 1. Jhdt. v. Chr. betrachteten politische Theoretiker in China und Europa Musi... more Zwischen dem 5. und 1. Jhdt. v. Chr. betrachteten politische Theoretiker in China und Europa Musik als nützlichen Maßstab für den politischen Charakter und Zustand von Gesellschaften und ihren Machthabern. Auch wenn ihre Ansichten keiner wissenschaftlichen Basis entsprangen, können schriftliche Überlieferungen und archäologische Quellen heute herangezogen werden, um Musik und damit zusammenhängende kulturelle Äußerungen im Umfeld der Macht und ihren unmittelbaren Einflussbereichen zu verorten. Sie können so über Identität, Selbstverständnis, Ansehen und Status informieren: vom Haushalt über den Staat, bei Eroberungen und Machtausübung, im Fall von Widerständen und Rebellionen sowie in der Rechtsprechung, Diplomatie und Schlichtung. Allem Anschein nach können diese Quellen in der Tat etwas Neues über Machtbeziehungen, Ideologie und politischen Wandel in der antiken Welt vermitteln. Sie dienen zudem als indirekter Indikator für politische agency in schriftlosem Umfeld.
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Die östliche Zhou- (770–221 v. Chr.) und die Han-Dynastie (206 v. Chr.–220 n. Chr.) waren Periode... more Die östliche Zhou- (770–221 v. Chr.) und die Han-Dynastie (206 v. Chr.–220 n. Chr.) waren Perioden sozialer, kultureller und politischer Umwälzungen in China. In dieser Übergangszeit hat sich China von einem durch rivalisierende Staaten beherrschten zu einem unter einem einzigen Herrscher vereinten Land gewandelt. Archäologische Funde aus dem 7. und 6. Jh. v. Chr. legen nahe, dass sich die rivalisierenden Staaten größtenteils der musikalischen Tradition des Zhou-Staats angepasst haben. Die Fülle an Glocken und Klangsteinspielen, die bisher mit Zhou-staatlichen Zeremonien und Ahnenritualen verbunden werden, zeugen von diesem Einfluss. Jedoch implizieren materielle Belege aus dem 5. und 4. Jh. v. Chr. einen weitgreifenden Wandel auf der kulturellen und musikalischen Ebene, vor allem im zunehmend an Macht gewinnenden Chu-Staat. Trotz des politischen Niedergangs der Chu im 3. Jh. v. Chr. hielten sich die musikalischen und kulturellen Einflüsse bis in die Han-Dynastie.
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Eastern Zhou (770–221 BCE) to Han (206 BCE–220 CE) was a period of great social, cultural and pol... more Eastern Zhou (770–221 BCE) to Han (206 BCE–220 CE) was a period of great social, cultural and political change in China. During this transitional time, China went from a land ruled by rivaling states to one dominated by a single emperor. Archaeological evidence of the 7th and 6th centuries BCE suggests that the rival states largely adhered to Zhou musical traditions. The abundance of bells and chime stones, associated with Zhou state ceremonies and ancestral rituals, serves as key evidence of this influence. Material evidence from the 5th and 4th centuries BCE, however, suggests great musical and cultural change, especially in the increasingly powerful Chu state. Despite the political demise of Chu in the 3rd century BCE, its musical and cultural impact continued well into the Han.
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Yearbook For Traditional Music, 2009
... Of equal importance is the reference to a specific Shang music master, Shi Zhuan. ... The poe... more ... Of equal importance is the reference to a specific Shang music master, Shi Zhuan. ... The poet Tao Yuanming (365-427 CE) expresses his joy with the reclusive way of life in his poem, "Homeward Ho!": Homeward ho! Let me cut off all social ties! ...
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Books by Ingrid Furniss
Routledge Press, 2024
Lutes and Marginality in Pre-Modern China traces the complex history of lutes as they moved from ... more Lutes and Marginality in Pre-Modern China traces the complex history of lutes as they moved from the far west into China, and how these instruments became linked to various forms of social, cultural, ethnic, and religious marginality within and at China's borders. The book argues that the lute, a musical instrument that likely originated in the Near East or Central Asia, became a highly charged object replete with associations of ethnic and political identity, social status, and gender in China across the third to seventeenth centuries, and as such, offers a crucial vehicle for understanding interactions between the Chinese center and periphery. Using a richly interdisciplinary perspective that brings together music history, performance studies, archaeology, and art history, the author draws together the visual evidence for the history of Chinese lutes and analyzes the political and cultural dimensions of their depictions in art. In exploring the lute's reception across time and space, this book illuminates the shifting relationships between China and cultures along its frontier, as well as the dynamics of gender and social status within China's center. Comprehensive in scope, Lutes and Marginality in Pre-Modern China offers new insights for scholars of pre-modern China, art history, archaeology, music history, ethnomusicology, and Silk Road and frontier studies.
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TELESTES by Ingrid Furniss
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
Papers by Ingrid Furniss
Books by Ingrid Furniss
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