Heidi Köpp-Junk
Assistant Professor in Egyptian Archaeology at the Institute of Mediterranean and Oriental Cultures, section for Egyptian temples, Polish Academy of Sciences Warsaw.
I studied Egyptology, Prehistory and Ethnology at the Georg-August-University of Göttingen and wrote my Ph.D. about the thesis “Travel in Pharaonic Egypt” (supervisors: Prof. Dr. F. Junge; Prof. Dr. G. Dreyer). Since that I worked at the Universities of Tübingen, Göttingen, Trier and Münster and for different museums (British Museum London, Roemer and Pelizaeus-Museum Hildesheim, Federal State Museum for Prehistory Halle/Saale, World Cultural Heritage Site Völklinger Hütte, Musée National d'Histoire et d'Art Luxembourg). Since 1988 I have been excavating in Germany (Glauberg, Einbeck, Northeim) and since 1990 in Egypt (Dahshur, Elephantine, Buto, Abydos, Sakkara, Qantir, Athribis) for several institutions like the German Archaeological Institute (DAI).
Supervisors: Prof. Dr. F. Junge; Prof. Dr. G. Dreyer
Phone: +49-172-5620721
I studied Egyptology, Prehistory and Ethnology at the Georg-August-University of Göttingen and wrote my Ph.D. about the thesis “Travel in Pharaonic Egypt” (supervisors: Prof. Dr. F. Junge; Prof. Dr. G. Dreyer). Since that I worked at the Universities of Tübingen, Göttingen, Trier and Münster and for different museums (British Museum London, Roemer and Pelizaeus-Museum Hildesheim, Federal State Museum for Prehistory Halle/Saale, World Cultural Heritage Site Völklinger Hütte, Musée National d'Histoire et d'Art Luxembourg). Since 1988 I have been excavating in Germany (Glauberg, Einbeck, Northeim) and since 1990 in Egypt (Dahshur, Elephantine, Buto, Abydos, Sakkara, Qantir, Athribis) for several institutions like the German Archaeological Institute (DAI).
Supervisors: Prof. Dr. F. Junge; Prof. Dr. G. Dreyer
Phone: +49-172-5620721
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Papers by Heidi Köpp-Junk
defense towers are already documented in this phase. In the Old Kingdom, scaling ladders were added, sometimes even equipped with wheels. In the Middle Kingdom, the use of siege huts and wheeled towers are documented for the first time, and in the Second Intermediate Period horses and chariots. Some innovations became established, others were only used for a short period of time. In particular, the assault ladder and the chariot proved to be a successful feature.
The female sistra players in the tomb of Nunetjer (ca. 2500 BC) wear a skirt, while the female dancers, depicted in the same scene, are dressed in the typical long dress with one or two straps over the shoulder. These gowns
are long and they seem to be clinging dresses, but from other scenes it becomes obvious that they are cut wide to allow sweeping dance steps. Other female dancers are shown with apron and two sashes across the upper body. The clothes allow a very agile dancing style, be it for men or women. From the 4th millennium BC up to the middle of the 3rd millennium BC, no unclothed dancers are attested. This changes in later times, and while female dancers are often depicted naked or only wearing a narrow belt
from time to time, this does not apply to male dancers. It is striking that often female dancers playing the lute are shown undressed, while the female musicians portrayed with them are dressed. Nevertheless, in the middle
of the 2nd millennium BC not all female dancers are portrayed without dresses, some of them wear an apron, as the one mentioned above.
The article analyses the earliest evidence to ca. 1000 BC with a focus on the first phases, discussing the change of the dresses in the course of time as well the contexts in which they were worn. Moreover, the differences of
the dresses of male and female dancers will be outlined, and since when an erotic connotation can be proven, where it occurs and how it can be explained will be discussed, because the depictions of female dancers without clothes are not attested in earliest times; they are a later development.
in Egypt in the form of rattles. This makes the idiophones the earliest group of instru-
ments attested there. Up to the middle of the 3 rd millennium BC first aerophones and
then at the same time chordophones and membranophones appear. What happens to
the individual instruments in the course of time, are they continuously documented,
do some of them disappear again from the repertoire? Does it change completely in the course of time up to the 1 st millennium AD due to the various influences from
outside and the changing political situation, or is for some of them a continuity at-
tested? The following study is addressed to these questions.
music, i.e. the attempt to actively influence the gods with instruments and the voice. How did this happen, how can it be proven? What kind of success was expected from it? These aspects, which have not yet been addressed in Egyptology, will be presented and and analyzed in the following.
Forschungsstand die frühesten Belege zu eruieren, sowie die für ihr Zusammenspiel, was
bisher wie im vorliegenden Rahmen noch nicht thematisiert wurde . Das erstere geschah zwar bereits in früheren Untersuchungen wie insbesondere in den in vielerlei Hinsicht immer noch maßgeblichenen von Hans Hickmann, die jedoch inzwischen mehr als 60 Jahre zurückliegen und logischerweise auf den damaligen Stand der Forschung wie auch der Art, Wissenschaft zu betreiben, basierten, was eine Neubetrachtung durchaus statthaft erscheinen lässt. Spätere Publikationen nahmen und nehmen mitunter unreflektiert und ohne neue Forschungsarbeit heute noch auf ihn Bezug 8 . Leider wird sowohl in älteren wie auch in jüngeren Veröffentlichungen zuweilen darauf verzichtet, die Primärquellen anzugeben, also
die Artefakte, die die vermeintlich frühesten Belege bilden. Die vorliegende Untersuchung
bezieht sich auf konkrete Fakten und schließt die inzwischen neuen Funde und Erkenntnisse
mit ein, ferner bedurften einige der Altfunde einer neuen, unter modernen archäologischen
Gesichtspunkten gestützten Betrachtung. Das Folgende beruht auf einer dezidierten,
eingehenden Analyse der frühesten Quellen für Idiophone und Membranophone durch die
Verfasserin, beginnend mit dem Auftreten der ersten Instrumente im 5. Jt. v. Chr.
defense towers are already documented in this phase. In the Old Kingdom, scaling ladders were added, sometimes even equipped with wheels. In the Middle Kingdom, the use of siege huts and wheeled towers are documented for the first time, and in the Second Intermediate Period horses and chariots. Some innovations became established, others were only used for a short period of time. In particular, the assault ladder and the chariot proved to be a successful feature.
The female sistra players in the tomb of Nunetjer (ca. 2500 BC) wear a skirt, while the female dancers, depicted in the same scene, are dressed in the typical long dress with one or two straps over the shoulder. These gowns
are long and they seem to be clinging dresses, but from other scenes it becomes obvious that they are cut wide to allow sweeping dance steps. Other female dancers are shown with apron and two sashes across the upper body. The clothes allow a very agile dancing style, be it for men or women. From the 4th millennium BC up to the middle of the 3rd millennium BC, no unclothed dancers are attested. This changes in later times, and while female dancers are often depicted naked or only wearing a narrow belt
from time to time, this does not apply to male dancers. It is striking that often female dancers playing the lute are shown undressed, while the female musicians portrayed with them are dressed. Nevertheless, in the middle
of the 2nd millennium BC not all female dancers are portrayed without dresses, some of them wear an apron, as the one mentioned above.
The article analyses the earliest evidence to ca. 1000 BC with a focus on the first phases, discussing the change of the dresses in the course of time as well the contexts in which they were worn. Moreover, the differences of
the dresses of male and female dancers will be outlined, and since when an erotic connotation can be proven, where it occurs and how it can be explained will be discussed, because the depictions of female dancers without clothes are not attested in earliest times; they are a later development.
in Egypt in the form of rattles. This makes the idiophones the earliest group of instru-
ments attested there. Up to the middle of the 3 rd millennium BC first aerophones and
then at the same time chordophones and membranophones appear. What happens to
the individual instruments in the course of time, are they continuously documented,
do some of them disappear again from the repertoire? Does it change completely in the course of time up to the 1 st millennium AD due to the various influences from
outside and the changing political situation, or is for some of them a continuity at-
tested? The following study is addressed to these questions.
music, i.e. the attempt to actively influence the gods with instruments and the voice. How did this happen, how can it be proven? What kind of success was expected from it? These aspects, which have not yet been addressed in Egyptology, will be presented and and analyzed in the following.
Forschungsstand die frühesten Belege zu eruieren, sowie die für ihr Zusammenspiel, was
bisher wie im vorliegenden Rahmen noch nicht thematisiert wurde . Das erstere geschah zwar bereits in früheren Untersuchungen wie insbesondere in den in vielerlei Hinsicht immer noch maßgeblichenen von Hans Hickmann, die jedoch inzwischen mehr als 60 Jahre zurückliegen und logischerweise auf den damaligen Stand der Forschung wie auch der Art, Wissenschaft zu betreiben, basierten, was eine Neubetrachtung durchaus statthaft erscheinen lässt. Spätere Publikationen nahmen und nehmen mitunter unreflektiert und ohne neue Forschungsarbeit heute noch auf ihn Bezug 8 . Leider wird sowohl in älteren wie auch in jüngeren Veröffentlichungen zuweilen darauf verzichtet, die Primärquellen anzugeben, also
die Artefakte, die die vermeintlich frühesten Belege bilden. Die vorliegende Untersuchung
bezieht sich auf konkrete Fakten und schließt die inzwischen neuen Funde und Erkenntnisse
mit ein, ferner bedurften einige der Altfunde einer neuen, unter modernen archäologischen
Gesichtspunkten gestützten Betrachtung. Das Folgende beruht auf einer dezidierten,
eingehenden Analyse der frühesten Quellen für Idiophone und Membranophone durch die
Verfasserin, beginnend mit dem Auftreten der ersten Instrumente im 5. Jt. v. Chr.
Ableitungssysteme für Oberflächenwasser sind z.B. in der Festung Buhen am 2. Katarakt überliefert, aber auch in der Planstadt Illahun aus dem Mittleren Reich. Die Ableitung von Gebrauchtwasser ist in den Häusern der Könige und Wohlhabenden belegt, existier¬ten doch dort Bäder wie z.B. im Palast von Medinet Habu und in Amarna. Das Badezimmer von Pharao Ramses III. ist heute noch in seinem Palast in Medinet Habu zugänglich. Die von Heidi Köpp-Junk derzeitige Untersuchung der Tempelanlage von Athribis/Ägypten ermöglicht gänzlich neue Erkenntnisse über die Nutzung von Wasser in einem griechisch-römischen Tempel.
Der Vortrag eröffnet neue Einsichten in die Bereiche Wohnkultur, Baukunst, Siedlungsarchäologie, Wasserbautechnik und Hygiene.
But the earliest evidence for music in Egypt is much older and dates back to the Fifth Millennium BC. The lecture, showing the current research results of ancient Egyptian music archaeology, deals with the origins in Neolithic, Predynastic, and Early Dynastic Times that allowed the development of the complex system as attested in the Old kingdom.
Moreover, the musical instruments attested in Ancient Egypt per se will be presented: Heidi Köpp-Junk shows 5000 years of ancient Egyptian music history with over twenty-five instruments (replicas of ancient Egyptian instruments and modern equivalents), including the so-called dancer’s lute from the time of Thutmosis III (ca. 1400 BC) as well as song texts such as the Song of the palanquin bearers, the Harper’s song, or the love song “Travel to Memphis”.
Speaker Bio:
Dr. Heidi Köpp-Junk is an Egyptologist, Music Archaeologist, and classically trained singer. She studied Egyptology, Prehistory, and Ethnology at the Georg-August-University of Göttingen and got her Ph.D. with the thesis Travel in Pharaonic Egypt (supervisors: Prof. Dr. F. Junge; Prof. Dr. G. Dreyer). Since then she worked at the universities of Göttingen, Münster, Trier, and Tübingen, and for different museums and exhibitions (British Museum, Roemer and Pelizaeus-Museum Hildesheim, Federal State Museum for Prehistory Halle/Saale, World Cultural Heritage Site Völklinger Hütte, Musée National d’Histoire et d’Art Luxembourg, Georg-August University Göttingen (The songs of the Ptolemies)). Since 1988 she has been excavating in Germany (Glauberg, Northeim, Einbeck) and since 1990 in Egypt (Dahshur, Elephantine, Buto, Sakkara, Qantir, Abydos, Athribis) for several institutions like the German Archaeological Institute Kairo (DAI). Currently she is working as an Assistant Professor in Egyptian Archaeology at the Institute of Mediterranean and Oriental Cultures, section Egyptian Temples, Polish Academy of Sciences Warsaw.
Her research interests lie in travel, mobility, carrying chairs, wagons, carts, and chariots as well as dewatering systems and music archaeology. As a trained singer she performs songs from ancient Egypt, composed by her from texts like pHarris 500 and pChester Beatty while playing a replica of a lute from the time of Tutankhamun and other instruments (sistrum, lyre, frame drum etc.).
Heidi Köpp-Junk präsentiert in diesem Vortrag 6000 Jahre altägyptische Musikgeschichte anhand von Funden und Darstellungen und demonstriert und untermalt dies mit Nachbauten altägyptischer Instrumente und modernen Äquivalenten, unter anderem der sogenannten Tänzerinnenlaute aus der Zeit von Thutmosis III. (ca. 1400 v. Chr., siehe Bild). Auch in Gestalt von Liedtexten wie dem Sänftenlied, dem Harfnerlied oder dem Liebeslied „Die Fahrt nach Memphis“ lässt sie Musik und Klang der Pharaonenzeit wieder auferstehen.
Zur Untersuchung des Reiseverhaltens in pharaonischer Zeit stehen archäologische, bildliche und textliche Quellen zur Verfügung. Gerade die letzten bieten zahlreiche Informationen, die in anderen Disziplinen, die sich mit Mobilität und Reisen auseinandersetzen, nicht gegeben sind. Nichtsdestotrotz stammen die Quellen in erster Linie aus Elite-Zusammenhängen, so dass das Reiseverhalten der Mittel- und Unterschicht oftmals nur indirekt zu rekonstruieren ist.
Im Zusammenhang damit stellt Heidi Köpp die Fortbewegungs- und Transportmittel vor, die zum Reisen genutzt wurden - von den Schlitten der Pyramidenbauer bis zu den Streitwagen und Sänften der Pharaonen.
Abstract Köpp-Junk
Various studies have been carried out to analyze the sound in large caves and other localities. Sound archaeology and acoustics are fields of research that have not previously been investigated in Egyptology. The lecture focusses on the relation of sounds and acoustics, instruments and musical activities like hand clapping and singing, and the localities where the musical performances took place and analyzes Iconographical, archaeological and textual sources.
It is to assume that the phenomenon of sound and acoustics was known in Ancient Egypt and that musical performances took place at certain places within a temple or a locality, where the acoustics were optimal. From the Old Kingdom onwards performances inside and outside of buildings are documented in Ancient Egypt (open air, in tents, in rooms). In rooms, the sound distribution and the acoustics are better that in an open air performance, making it easier for the musician to play in front of a large audience. Therefore, the architectural acoustics in private homes were different from those in Egyptian rock tombs, funerary chapels, funerary enclosures, or temples. It would be useful to analyze whether the development of the temple architecture is connected to the development of religious practices including music.
Enclosures without a roof show different acoustics, as an impulse sound measurement in a palisade circle revealed. In addition to the acoustics inside the system, the minimization of external noise from outside through the limitation is an important factor. In this respect, acoustic investigations in Egyptian temples would certainly be as interesting as in other places where performances of religious acts took place, be it solely by voice or supported by musical instruments or actions like hand clapping, as the Early Dynastic funerary enclosures in Abydos or the like.
Abstract:
Music is attested in Egypt since the 5th millennium BC with the rattle being the oldest instrument. The earliest depictions of clappers are attested in the 4th millennium, while the earliest archaeological evidence dates to 3000 BC. Egyptian clappers are made of different materials like ivory and wood, and they are attested in various shapes: some are undecorated and bent, others are richly ornamented with the face of the goddess Hathor. Furthermore there are beside hand-shaped ones those in animal form. From time to time they are hollowed in order to increase the volume. The lecture addresses the following questions: When do the different materials appear and in what context are they attested? Does it change in the course of time? Are the different materials a question of status and prestige, or of musical importance? Do the various materials have different connotations, is one used to gain the attention of a god, and others “only” to give rhythm to dancers, singers and instruments? Are the individual materials limited to one special ritual, or do they appear in mundane contexts as well?
Heidi Köpp-Junk präsentiert in ihrem Vortrag 6000 Jahre altägyptische Musikgeschichte und demonstriert dies mit über 25 historischen Instrumenten, unter anderem einer Laute aus der Zeit Tutanchamuns. Als absolute Weltpremiere lässt Heidi Köpp-Junk den Klang der Pharaonenzeit wieder auferstehen.
The latter is a relatively young branch of archaeology. Experimental music archaeology, in which instruments from the period are reconstructed and played, forms a subdivision of it and contributes immensely to the understanding of ancient Egyptian music. This volume is the first German-language book on music in Ancient Egypt for over 60 years.
ersichtlich. Doch wie sah es mit den Lebenden aus, wie muss man sich den Alltag in einer ägyptischen Stadt vorstellen? Dieser Frage widmet sich der vorliegende Band. Darin wird «Stadt» nicht allein im Sinne von Architektur
verstanden, sondern es wird ausgeführt, wie das Leben und Zusammenleben dort stattfand. Wie lebte man innerhalb der Häuser, was
wurde gegessen, wie wusch man sich, gab es schon Badezimmer, wie bewegte man sich eigentlich fort und wie kaufte man sich neue
Sandalen? Diese und viele weitere Fragen werden anhand von archäologischen, bildlichen und textlichen Quellen beantwortet.
Die Autorin erforscht Klima und Verkehrswege, Transport, Fortbewegung und Reiseorganisation, um dem Wesen der ägyptischen Reisekultur sowie Grad und Merkmalen der Mobilität auf den Grund zu gehen. Der wichtigen Frage, wer überhaupt als Reisender belegt ist und aus welchen Gründen Reisen angetreten wurden, wird ebenso Rechnung getragen. Dabei greift Köpp-Junk sowohl auf nicht-literarische als auch auf literarische Texte und archäologische Quellen zurück und bezieht auch neuere Studien zu Reisen und Mobilität im europäischen Mittelalter sowie Beispiele aus anderen Kulturkreisen und Zeiträumen mit in die Analyse ein. Es zeigt sich, dass im pharaonischen Ägypten eine erstaunlich hoch entwickelte Reisekultur nachzuweisen ist. Der innovative, fachübergreifende Ansatz ermöglicht überraschende Erkenntnisse, die nicht nur von historischer, archäologischer und soziologischer Bedeutung sind, sondern auch Aufschluss über Kulturgeschichte und Alltagsleben geben. Somit ist der Band ein wertvolles Nachschlagewerk sowohl für Ägyptologen als auch für alle Ägypten-Interessierten, die sich über die Themenbereiche Reisen, Mobilität und Verkehrsmittel informieren möchten.
er in seinem Vorwort konstatiert, verfaßte zahlreiche äußerst wertvolle
Publikationen über Einzelaspekte sowie auch umfassende Werke. Seine Unter-
suchungen zum Themenkreis Streitwagen und Wagen im Alten Ägypten sind
wegweisend, als Beispiel seien nur „ Bemerkungen zur Konstruktion des ägyp-
tischen Rades in der 18. Dynastie “ in der Festschrift Wolfgang Helck oder „ Die
Inschrift auf dem Wagen des Tutanchamun “ in der Festschrift Wolfhart Westen-
dorf neben diversen Artikeln im Lexikon der Ägyptologie angeführt. Noch weit-
aus wertvoller sind seine Monographien. Er promovierte 1970 über „ Die physi-
sche Leistung Pharaos “ , legte zusammen mit Michael Herb 1994 den „ Bildatlas
zum Sport im Alten Ägypten “ vor. Doch nicht allein mit dem Sport im Alten
Ägypten beschäftigte er sich, sondern überdies mit „ Sport in der griechischen
Antike. Vom minoischen Wettkampf zu den Olympischen Spielen “ . Es gibt also
kaum jemanden mit seiner wissenschaftlichen Erfahrung in Bezug auf Sportge-
schichte.
wie Lauten, Trommeln oder Klappern. Im Grab des Tutanchamun wurden zwei Trompeten gefunden, die sogar noch spielbar waren. Anhand von Repliken versucht man, die Spielweise und der Instrumente zu rekonstruieren. Altägyptische Lauten waren mit Saiten aus Tierdarm bespannt. Der Resonanzkörper bestand aus Holz oder einem Schildkrötenpanzer, die Decke aus Leder.
musicians is attested. Music was not only an entertaining factor, but played a major role in the ritual context as well, be it in temples or
tombs, and moreover it is attested at the royal court. The aim of the study is to find out what the basics were for this complex system.
Iconographical evidence for musical instruments and musicians, artifacts as well as textual sources were taken into consideration.
Paradoxically, despite their geographical proximity, this previous research has only begun to explore the possible musical interactions between both areas. Moreover, the few works on the topic (Duchesne-Guillemin 1981; von Lieven 2008) still leave many questions unanswered, such as the influences of cross-cultural contact on musical aspects beyond the instruments themselves (e.g. musicians, repertoires, etc.).
This archaeomusicological session consequently emerges with the purpose of solving this situation by welcoming papers from (Ethno-)Archaeology and Material Culture Studies (besides Egyptian & Ancient West Asian Philologies or (Ethno)musicology) about any aspect of musical interactions between Egypt and West Asia during Antiquity (late-4th mill. BCE until the change of era). Emphasising multi-disciplinary approaches and methodologies, the session will develop cross-cultural archaeo-musicological study as a specific contribution to wider narratives of understanding relations between both regions. These lines may guide the direction of proposed papers:
• West Asian influences on Ancient Egyptian music and vice versa.
• The role of regions connecting both continents (e.g. the East Mediterranean) in those contacts.
• Ancient West Asian and Egyptian contexts as common receptors of other Eastern and Western ancient musical traditions.
Studies regarding other Asiatic and African cultures are also welcome if pertaining to the musical interactions of both continents in Antiquity. The organisers are open to discuss such matters in advance and intend to publish the results of this session.
EAA 2021. SESSION #152
ANCIENT WEST ASIAN AND EGYPTIAN SOUNDSCAPES IN CONTACT.
Uploaded with permission of Dr Daniel Sánchez Muñozf
Date: December 10-11, 2021
Venue: Staatliches Museum Ägyptischer Kunst, Auditorium (Gabelsbergerstraße 35, 80333 München)
Organisers: Prof. Dr. Friedhelm Hoffmann, Dr. Mohamed Raafat Abbas
Date: December 10-11, 2021
Venue: Staatliches Museum Ägyptischer Kunst, Auditorium (Gabelsbergerstraße 35, 80333 München)
Organisers: Prof. Dr. Friedhelm Hoffmann, Dr. Mohamed Raafat Abbas