Igen, akusztikus mikroszkop, de ez teljesen legujabb kori talalmany, es az optikai mikroszkop elvebol indultak ki a szoveg szerint a feltalalok.
Ontopik hoztam inkabb nektek egy kepet, a muzsikalo szatirt abrazolja, kr.e. 40-30-ban keszult marvanyvazan maradt fent, cca. 73 cm magas, a Louvre-ban orzik.
Majd "raforditjuk" a szovegre Karbont, aki Parizsban tanult regeszeti antracologus szakerto, de igazabol az ogorog tanc kutatasarol almodik. Ez jo, ha mas teruletekrol is erkeznek a kozelunkbe emberek, Psaroudakes professzor peldaul tankhajo epitest tanult, meg is latszik a jegyzetein a 'hullam' kolteszet. :)
Kedves Karbon es Petyus, hat ez meg mi a csuda! :) Akusztikus mikroszkop?
Introduction
Le microscope est l'instrument de mesure de l'infiniment petit par excellence. Le microscope acoustique est apparu pour la premičre fois ŕ l'université de Stanford en 1974. Basé sur les męmes principes que son rival le microscope optique, si ce n'est que les ondes employées sont sonores et non pas électromagnétiques, le microscope acoustique possčde des propriétés qui diffčrent de celles du microscope optique. Ce sont ces propriétés nouvelles et intéressantes qui ont amené certains scientifiques ŕ se pencher sur le développement d'un tel appareil.
Nous étudierons d'un point de vue théorique simplifié le principe du fonctionnement d'un microscope acoustique et la propagation des ondes acoustiques. Puis nous comparerons ses performances et propriétés avec celles du microscope optique, et enfin nous verrons quelle a été son évolution et quelles sont ses applications.
I-Etude théorique du fonctionnement de l'appareil
Le microscope acoustique est un appareil assez volumineux qui se compose de trois parties essentielles:
-un systčme composé d'une lentille sphérique, d'un émetteur-récepteur d'ondes acoustiques, d'un fluide de contact avec l'échantillon; ce systčme est trčs petit (de l'ordre du cm)
- le mécanisme de balayage soit mécanique soit électronique qui est volumineux
- la partie électronique du traitement, du stockage et de la visualisation de l'image obtenue
Nous nous intéresserons uniquement au systčme acoustique.
Selon que l'échantillon est épais ou non, on utilise soit le microscope acoustique en mode de réflexion soit en mode de transmission
Les ondes acoustiques d'une fréquence comprise entre 600 et 2 000 MHz sont générées par une couche mince d'un matériau piézoélectrique (ZnO) ŕ partir d'un signal électrique avec un rendement d'environ 50%
Cette couche mince est collée ŕ un barreau en saphir synthétique (Al2O3) dont l'extrémité est une petite cavité qui forme la lentille de focalisation (0,1 ŕ 0,4 mm de diamčtre)
Les hypersons ne se propageant pas dans l'air, l'échantillon doit ętre immergé dans un fluide de transmission (Voir schéma 1 et 2)
Pour la réflexion, on remarque que lorsque l'onde incidente fait un certain angle dit angle critique de réflexion interne avec la surface de l'échantillon et uniquement dans ce cas, on observe la propagation d'une onde évanescente le long de la surface dont la phase est modifiée (voir schéma 3). La phase de l'onde réfléchie n'est modifiée que si l'angle d'incidence est supérieur ŕ celui de l'angle critique et plus ou moins abruptement selon la dureté du matériau. Or Andrews et Keightly ont montré que cet angle critique variait avec la contrainte appliquée au solide et avec la composition du matériau
C'est donc par la détermination de cet angle critique que l'on peut étudier certaines caractéristiques du matériau (voir schéma 4)
Le transducteur piézoélectrique permet de transformer le signal acoustique réfléchi ou transmit en signal électrique qui va ensuite ętre transformé en image.
Pour la réflexion, il s'agit du principe de l'émission, pour la transmission un autre barreau de saphir est placé de l'autre coté de l'échantillon auquel est accolé un second transducteur.
II-Propagation des ondes acoustiques
Les ondes acoustiques sont produites par une déformation du milieu qui se propage de proche en proche. Cela tient ŕ l'élasticité du milieu: les molécules déplacées entrent en vibration autour de leur position d'équilibre.
Les hypersons ne se propagent pas dans l'air car le milieu n'est pas assez dense.
III-Comparaison entre microscopes acoustique et optique
Critčres de comparaison: microscope acoustique microscope optique
Type d'ondes utilisées sonores électromagnétiques
Résolution maximale 0.1 micromčtre 0.5 micromčtre
Type d'image imagerie en volume imagerie plane
Informations fournies propriétés géométriques et mécaniques: composition, densité, viscosité propriétés géométriques
En fait, le microscope acoustique complčte le microscope optique: par exemple le plexiglass et le verre sont presque identique d'un point de vue optique mais le verre est beaucoup plus réfléchissant aux ultrasons, le contraste obtenu ŕ partir du microscope acoustique sera beaucoup plus grand, par contre l'aluminium et le verre ont des propriétés acoustiques similaires, mais sont trčs différenciés optiquement.
IV-Evolution et applications du microscope acoustique
-> Evolution du fluide de transmission:
eau - hélium superfluide - argon sous pression - mercure ou gallium
(T <0,45 K) (P> 250 atm) (absorption des ondes 4 et 16 fois plus faible que l'eau)
-> Evolution du pouvoir de résolution: 700 nm - 100 nm
-> Applications:
Tests d'addhérence de couches minces sur substrat
Tests de rugosité
Etude de la nature des matériaux
Mise en évidence des inhomogénéités des alliages
Vérification des microcircuits en "profondeur"
Observation d'une cellule encore en vie si le fluide de transmission est de l'eau
Bibliographie et sources:
Revues "American Scientific" n°26, article de Calvin Quate
"La Recherche" n°121 et n°144, articles de Jacques Attal
Encyclopédies: "Techniques de l'Ingénieur" et "Encyclopédie Universalis"
Renseignements du professeur Nongaillaird du CNRS n°9929 de Valenciennes
Orxhstra ''Terpandros'' - Parastaseis sthn Ellada ---------------------------------------------- Sto plaisio ekdhlwsewn poy organwnoyn to Panepisthmio Aqhnwn, to Panepisthmio Kyproy kai to Ypoyrgeio Paideias kai Politismoy ths Kyproy, h Orxhstra Arxaiwn Ellhnikwn Moysikwn Organwn ''Terpandros'' qa paroysiasei th diaxronikh poreia ths ellhnikhs moysikhs apo thn arxaiothta mexri shmera.
Qa ektelesei moysika kommatia opws: o Delfikos Ymnos- Paianas toy Limhnioy (128 p.X) erga kosmikhs byzantinhs moysikhs, akritika, paradosiaka, mikrasiatika kai sygxrona erga Ellhnwn dhmioyrgwn.
H Orxhstra ''Terpandros'' idryqhke sthn Kypro to Noembrio toy 2000. Ws mh kerdoskopikos organismos exei ws apostolh toy thn anakataskeyh twn arxaiwn ellhnikwn moysikwn organwn, th meleth, anabiwsh kai probolh ths ellhnikhs moysikhs kaqws kai thn ereyna panw se qemata poy exoyn sxesh me ton arxaio ellhniko politismo. O ''Terpandros'' exei hdh dwsei arketes parastaseis sthn Kypro, thn Ellada kai se alles xwres.
H prwth emfanish ths orxhstras qa ginei thn Tetarth, 27 Noembrioy 8 mm, sthn aiqoysa ekdhlwsewn toy Panepisthmioy Aqhnwn (Panepisthmioy 30). H ekdhlwsh einai afierwmenh ston Kwnstantino Lebenth gia ton opoio qa telestei pneymatiko mnhmosyno.
Thn Pempth, 28 Noembrioy stis 12.15 mm, h Orxhstra ''Terpandros'' qa dwsei synaylia sthn aiqoysa ekdhlwsewn (AULA) ths Filosofikhs Sxolhs toy Panepisthmioy Aqhnwn sthn Panepisthmioypolh. Sthn synaylia qa paroysiastei oloklhro to programma ths orxhstras diarkeias 90 leptwn.
Thn Paraskeyh, 29 Noembrioy stis 5.30 mm, h orxhstra qa symmetasxei se ekdhlwsh sto qeatro toy Polemikoy Moyseioy me kyrio omilhth ton Arxiepiskopo Xristodoylo me qema th symbolh ths Kyproy stoys eqnikoapeleyqerwtikoys agwnes.
H teleytaia synaylia toy ''Terpandroy'' qa doqei sto Dhmotiko Qeatro Peiraia to Sabbato, 30 Noembrioy stis 6.30 mm. Kai s'aythn th synaylia h orxhstra arxaiwn ellhnikwn moysikwn organwn ''Terpandros'' qa paroysiasei oloklhro to programma ths gia th diaxronikh poreia ths ellhnikhs moysikhs.
AgyProTézis válasz erre | adatok | e-mail 2003-10-03 21:12:34 (8351
A teknőclant el van-e látva f-lyukakkal? /A kellő rezonancia miatt is, meg hogy a zöngemény könnyedén kiszűrődjék..Láttam eccer egy képsorozatot, a hegedűt elég különféle hangfrekikkel fényképeltek le, és egészen máshol voltak a csomópontok és a duzzadóhelyek, uis. úgy optimalizálták, hogy minden hangmagasságra alkalmas legyék..ezek a furfangos hagszerkészítők../
spiroslyra válasz erre | adatok | e-mail 2003-10-04 10:59:23 (8352)
Kedves zeneben jartas Nous!
...A teknoclyra tele van lyukakkal, de ez ugy tunik, hogy csupan az alkatreszeit rogzito szegecsek helye. Az akusztikai kedesekrol magam is szeretnem megkerdeni Petyust, o jartasabb ezen titkokban, en szegyenszemre elmaradtam ebben, meg kell probalnom bepotolni. Psaroudakes profeszor a lyra jellemzo jegyekent a bor rezgo membrant emelte ki, ez adja sajatos hangzasat, mint a bendzsonal. A gorog szakszo a teknos ureget antiihio szoval hivja, megulonboztetve az ihiotol. Ha jol ertettem a kulonbseg olyas mint a hegedu lelke, vagy a zongora specilis kemeny fabol keszitett hangvezeto palcikai, remelem Petyus majd elmagyarazza nekunk, mert nekem kicsit kodos. Jo lenne megtudni hogy a lyra milyen "hangfenykepet" mutat, es ebbol mit , hogyan es mint lehet valami tanulsagot levonni. Ha a lyra tuzetesebben erdekel, van egy kulon lyra rovatunk, ezzel a kulcsszoval megtalalod, vagy ha rakattintasz a levelem fejlecen a nyitott rovatok ablakra.
[előzmény : (8351) AgyProTézis, 2003.10.03 21:12]
AgyProTézis válasz erre | adatok | e-mail 2003-10-05 16:37:35 (8356)
Kedves Spily!
A hangfényképet egy üvegből/plexiből készült hegedűforma/alak hangfrekis gerjesztése során/mentén, polarizált fény felhasználása mellett készítették, és asszem egy régi IPM-ben láttam. Érdekes volna mindezt térben valamely holografikus megoldival felturbózni és még mozgóképet is _é_lőállítani. Így láthatnánk is a hangokat.
Ahogy emléxek a plexitestről készült hangrezgés-képek szivárványszínűek voltak, ez nem biztos, hogy a koherens lézernél bejön, de talán -még pluszban, mintegy megfejelve a holografikus megjelenítést, -rákopírozva- elő lehetne az interferencia-színeket is valamely fondormányos móccerrel sündörgettetni..
Naccerű volna a hanglebegéseket is szemlélni, csak nem tudom, hogy a hegedűn előfordul-e, hogy két húrt nyúznak eccerre.../Most meg már a zongorára gondolok:)/
Üdv.!
PETYUS válasz erre | adatok | e-mail 2003-10-05 22:56:49 (8357)
Nem tudom, mennyire korrekt dolog plexihegedűvel modellezni a rezgéseket, ugyanis a valódi hegedűk anyaga (főleg a felső rezgőlap) rettenetesen anizotróp, vagyis teljesen másképpen vezeti a rezgéseket hosszirányban, mint keresztben. Az viszont igaz, hogy a gerjesztő frekvencia függvényében más-más rezgési módusok alakulnak ki, vagyis más formát vesznek fel a rezgési csomóvonalak.
Néha hegedűn is előfordul, hogy két húron játszanak egyszerre. Azonban a széki, gyimesi, mezőségi stb. népi bandák háromhúros kontrája teljesen közeli rokona a hegedűnek (többnyire hegedűből vagy brácsából készül), és folyamatosan három húron szól.
Egy papyruszrol ir Staikos a 32. oldalon, a 8. szeljegyzetben, melyet L. Liagkoura talalt 1981-ben egy 'kibitoshimo' sirban, a "zenesz" lelet (Archaiologikon Deltion, 36. kotet, 1981. 47. old.) hangszerkesziteshez valo fa szerszamokkal [ez tisztazando, nagy valoszinuseggel felreertes, es nem szerszamokrol, hanem hangszer reszeirol van szo. Spir. megj. Staikos irasanak kiadasakor meg nem hataroztak meg korat es nem tortent meg az olvasata. Huha! Ennek utannanezunk!]
O papiros pou brethike apo ton L.Liangoura ston kibotoshimo tafo tou legomenou ' mousikou" to 1981 (Arhaiologikon Deltion, tom. 36, 1981, s. 47.) mazi me xilina ergaleia kataskeuis mousikon organon, den ehei hronologithei kai diabastei akomi. Staikos 42. s.
Title: Vivliotheke apo ten archaioteta heos ten anagennese kai semantikes oumanistikes kai monasteriakes vivliothekes (300 p.Ch.-1600 m.Ch.) /
Author(s): Staikos, K.
Publication: Athena : [s.n.],
Year: 1998
Description: 16, 563 p. : ill. (some col.) ; 34 cm.
Language: Greek, Modern
Klassifikations-Nr. (nach Hornbostel-Sachs):
112.122 Gleitrassel
Schüttelidiophon mit Rasselscheiben, die in einem Rahmen auf zwei beweglichen Stäben gleiten.
Inventar-Nummer:
IVN Sistrum 1-a
Name des Instrumentes (allgemeine Bezeichnung):
Sistrum (Gleitrassel im Rahmen mit zwei bewegliche Stäben und je drei Rasselscheiben)
Terminologie (einheimische Bezeichnung):
ts'anats'el / sanasel (amharisch)
Objektbeschreibung:
Form: 25 cm hoch; 8,4 cm breit; lyra-förmig
Material & Technik: Stab aus Holz; Rahmen aus Messing; 2 x drei Blechscheiben auf 2 Drähten
Verzierung/Zeichen:
31 rechteckig gestanzte Löcher je im linken und rechten Lyra-Rahmen. Lyra-Rahmen in zwei Spitzen auslaufend, welche miteinander mit einem dreieckigen Stab verbunden sind. Der Griff steckt in einer Umfassung, die mit einem seitlich eingeschlagenen Nagel fixiert ist.
Beschreibung
(nach Hornbostel Sachs):
Idiophon (1), geschlagen (11), mittelbar geschlagen (112), in Schüttelbewegung (112.1), mit gleitenden Rasselkörper (112.122)
Herkunft: Instrument der äthiopisch-orthodoxen Kirchentradition
Hersteller: unbekannt
Ortsbelege: Äthiopien, Addis Abbeba, Gondar etc. und ganz allgemein in äthiopisch-orthodoxen Kirchen.
Zeitbelege: vor allem schon im 18. und 19. Jahrhundert.
Wer (Träger): Priester der äthiopisch-orthodoxen Kirche
mit wem gespielt: zusammen mit anderen Priestern (oft z. B. in zwei Reihen)
wann gespielt: während der Liturgie, auch während Begräbnisfeiern (vor dem aufgebahrten Toten)
wo gespielt: in der Kirche, im Kirchhof und im Freien bei Prozessionen
zusammen mit was für
anderen Instrumenten
oder Gesängen:
kebero (große Trommel): Singen der Priester und der Gemeinde; auch bei Priestertänzen
welche musikalische Handlung
wird ausgeführt:
Feier des Gottestdienstes; antiphonales Singen / Psalmodieren / Singen von Hymnen (z.B. Michaelis-Hymnus); Weihnachtsgesänge
Symbol:
bei den alten Ägyptern galt das Sistrum als Fruchtbarkeitssymbol
Legende/Sage:
Das Sistrum soll vom hl. Yared (geb. 496) erfunden worden sein, nachdem er den Gesang der drei Vögel gehört hatte (vgl. Bilddarstellungen).
Spieltechnik (Skala, etc.):
Das Sistrum wird in der rechten Hand gehalten und im Takt hin- und herbewegt (es ist kein dauerhaftes und schnelles Schütteln belegt).
Musikalische Möglichkeit:
Takt- und Rhythmus-Instrument
Spielrepertoire:
vgl. Aufnahmen LP Ethiopia I: Copts. Unesco Collection BM 30 L 2304
Geschichtliche Hinweise:
Übernahme von der ägyptisch-koptischen Kirche(?); das Instrument ist heute vorwiegend nur noch in Äthiopien verbreitet. Nach Ovid soll das römische Sistrum der Römer von Ägypten übernommen worden sein.
Stimmung:
Eintoninstrument (vgl. Draeger 1948)
Querverweise/Abbildungen
Sammlungen:
Einfache Sistren in Schwarzafrika und vereinzelt auch in Amerika, häufiger in Asien; in Altägypten seit dem ausgehenden 3. Jahrtausend v. Chr.; auch in Altmesopotamien; Naos-Sistrum (sescheschet / Tempel-Emblem); ägyptisches sekhem (heiliges Sistrum der Göttin Hathor; Isisreligion; vgl. Hieroglyphen (Bügelsistrum); des weiteren das wusumba der Kissi in Guinea und Kokosnuß-Schalenrassel (Malaia/Melanesien) zur Haifischjagd.
Tonaufzeichnungen:
Äthiopien: 20.2.1976, Priester der Michaelis Kirche in Ambaras:
Michaelis-Hymnus: Sologesang und anschließende Chor Archiv Nr. 18:45-72
Bemerkungen:
s. auch Hickmann, Ellen: "Rasseln" In: MGG. Die Musik in Geschichte und Gegenwart. Allgemeine Enzyklopädie der Musik. Sachteil. Bd. 8. Kassel, Basel u.a.: Bärenreiter, 1998:Sp. 73-88.
LITHOACOUSTICS - MUSIC IN STONE
Preliminary report (October 2000)
(A more complete version of this report can be found in the volume of British Archaeological Reports referenced below under 'Publications' - click here for a preprint version)
Introduction
There has been much recent debate over the role, if any, of music in cognitive evolution (for an excellent account of cognition in evolution see Mithen, 1996; for a very broad overview of music's evolutionary origins, see Wallin, Merker and Brown, 2000). Some theorists such as Pinker (1997) see music as a byproduct of the evolution of certain adaptive faculties, while some, such as Miller (1997) see its origins as lying in mechanisms of sexual selection; some writers such as Vaneechoutte and Skoyles (1998) see music's provenance as phylogenetically very ancient, while others such as Merker (1999) argue for a much more recent derivation. It has also been argued (Cross, 1999) that music arises only with modern Homo sapiens sapiens, and that musical behaviours are not only functional in ontogenetic development (see Trevarthen, 1999) but have been adaptive in human evolution.
But there is no clear prior evidence for the exercise of human musicality - for musical behaviours - prior to some 36,000 BP (a bone pipe discovered near Württemberg, see Dauvois, 1989), though the existence of the capacity prior to that date must be inferred (see Lawson, 1999). It might be that previous musical behaviours took an entirely vocal form - thus leaving no recoverable traces - or it might be that early musical instruments or artefacts were made of highly perishable and hence virtually unrecoverable materials (reed-stalks, or bark tubes). It might be, however, that early musical artefacts exist unrecognised in the archaeological record; there are certainly prior cases of misidentification of sound-producing artefacts.
This project was intended as a pilot study to explore whether there might be evidence for sound production - and hence perhaps music production - by means of instruments or artefacts that is recoverable from the lithic record. The study focused on those lithic objects of which the properties were perhaps best known in Aurignacian times, flint tools - blades, flakes and cores - and investigated (i) whether these could be used to produce sounds that might be exploited musically and (ii) whether the use of such lithic objects for sound productions left consistent and replicable traces of use-wear that might serve a diagnostic function for archaeological specimens. To leap to the conclusions that can be drawn from this pilot study, the answers to these two questions appear to be (i) yes and (ii) probably.
Evidence for the use of lithic objects in the Upper Palaeolithic to produce sound can be found in Dams (1985). These reports concern the exploitation of stalagmitic formations, which afford differently pitched sounds when struck, in caves in France (Roucadour, Cougnac, Pech-Merle), Spain (Nerja) and in Portugal (Escoural). Dams indicates that many of these lithophones are decorated or marked, often with red ochre dots, pointing to an intentional and repeated use for sound production which (op. cit, p32) "can be observed by the traces of blows, damaging or chipping the surface".
Hence if natural lithic objects were being used for sound production in the Upper Palaeolithic, it seems logical to examine the possibility that the sonic potential of artificial lithic objects of the type most common within that period's culture(s) might have been exploited. As the sites listed by Dams appear to have had multiple periods of occupation from the Périgordian to the Magdalenian, it appears most reasonable to focus on the tool-types and shapes used in the longest-lasting culture of the European Upper Palaeolithic, the Aurignacian.
The experiments
As a starting, point, it was noted that the process of flint-knapping necessarily involved the production of sound; further, the repetitive actions that can be employed in knapping might have led to an awareness of the "musical" potential of the materials and the actions. Hence the initial hypotheses that we had developed (presented on the first version of the Lithoacoustics page) focused on the actions likely to be required to use lithic objects to produce sound and the possible consequences of these actions for the lithic objects.
However, as soon as the project's flint-knapper, Frank Cowan, started to produce Aurignacian-type blades and flakes, it quickly became evident that these materials possessed sound-producing attributes that could only be elicited from actions extremely different from those involved in knapping. Consequently the focus of the experiments quickly broadened to explore aspects of materials and use-wear, as it became evident that repeated use for sound-production appeared to result in quite distinct patterns of surface and edge damage to the lithic objects.
The initial informal "play" with the "Aurignacian tool kits" indicated that the most "musical" sounds were producible by lightly coupling blades or flakes between thumb and index or middle finger and using them as "chimes". Empirical observation of the most effective way of eliciting pitched sounds, together with some basic acoustical knowledge, led to the conclusion that the blades were indeed operating acoustically as "chime bars" (see Fletcher & Rossing, 1998, pp624-633). The "best" sounds were produced when the blades were suspended between the fingers at a point approximately one-quarter along the length of the blade (in fact, 0.224 of the length).
Materials were approximately 8-10 inch cobbles which bore considerable surface incipient cone cortex (from glacial gravel outwash. The raw material was, on the whole good though variable in quality, frequently being heterogeneous in texture with occasional flaws or cracks. All protocols were derived from informal pilot testing of the materials, and enabled: (i) the form of the lithic objects (specimens) to be classified; (ii) the mode and "quality" of sound production ("good", "acceptable" or "bad") to be described and recordings to be made; (iii) the analysis of the recorded sounds to be encoded in reduced form; and (iv) the resultant patterns of use-wear to be characterised. All data were input into a central database (using Microsoft Access), and raw data in the form of recorded sound and image files were stored as, respectively, mono 16-bit AIFF files and JPEG files. A single rater (Lis Fleming) was employed to undertake the bulk of the recording and lithic percussion (some 109 specimens in all); an additional rater (Paula Constant) was employed to percuss and record a further 15 specimens to examine the effect of rater on the measured outputs.
Results
Initial analyses focused on the principal component of the spectrum of each recorded sound, examining the mean, range and variability of frequency, intensity (with -80 dB noise floor) and duration of this component.
mean: frequency (Hz) duration (msec) intensity (dB)
good 4825 185 -36
acceptable 7125 116 -36
bad 7764 85 -43
It is notable that only the specimens rated as "good" had principal frequency components that lay within (though at the upper end of) the usual "musical" frequency range. Further analyses of playability ratings showed that these were consistently related to physical properties of the specimens, in particular, to both length and thickness. The results indicated that to a "player" a heuristic indication of the sound-producing capacity of the specimen is immediately available from estimation of its length and (secondarily) its thickness.
Samples of some of the sounds produced are given below. All were rated as "good", and all produce clear, pitched sounds. All sounds are in AIFF and WAV format (16-bit 44.1 KHz).
AIFF format resonator 6 resonator 16 resonator 24 resonator 66
WAV format resonator 6 resonator 16 resonator 24 resonator 66
An analysis of one of the sounds rated as "good" (using the very wonderful Lemur 4 - for details see the CERL Home Page) is shown below, together with the sound sample from which the analysis derived.
resonator 1 (AIFF) resonator 1 (WAV)
A short "lithic piece", put together by sequencing some of the recorded materials using MOTU's Digital Performer software, can be accessed below. The "piece is in RealAudio format, and you will need a version of RealPlayer to hear it.
"Lithic piece"
Preliminary analyses of use-wear showed a consistent appearance of small densely clustered surface cones or of multiple small, densely clustered small areas of surface polish results from sound-producing use of the specimens. Occasionally, small scratches occurred. Of the three different kinds of damage, the cone-cracking was most consistent and is undoubtedly the most diagnostic usewear criterion. No other behavioral or geological forces that we can think of are likely to produce the kind of very patterned clustering of cone-cracks as were experimentally produced in musical use. Microscopic images clearly show the patterns of use-wear resulting from this musical use; images of one of the specimens (distal end, hence the capital letter "D") before and after repeated percussing are shown below:
A preliminary survey of some of the Palaeolithic flint materials in the Cambridge University Museum of Archaeology and Anthropology indicated that there were very few instances of blades or flakes with small surface coning; if this type of use-wear ocurs as a result of "natural" circumstances it would appear to be rare and differentiable from the sort of wear that arises from lithic chime percussion.
Preliminary conclusions
This project is still in its initial stages. There remains much to be done; for example, full coding and analysis of use-wear on all specimens is yet to be completed, and may reveal patterns that are relatable to sound-producing and dimensional characteristics of specimens. And it must be emphasised that while the aims of the project - ascertaining the "musical" potential of Upper Palaeolithic-type flint materials, and determining whether or not diagnostic criteria for such use might be evident in use-wear - have in part been met, we still do NOT know whether these types of tools were in fact used to produce sound in the Upper Palaeolithic. We have at present ONLY the beginnings of a testable hypothesis that might enable the identification of sound-making use of prehistoric flint tools. Many other factors need to be considered, and much work remains to be done, before we can know whether these hypotheses can shed light on the origins of human musicality.
References
Cross, I. (1999). Is music the most important thing we ever did? Music, development and evolution. Music, mind and science, Suk Won Yi (Ed.), Seoul: Seoul University Press, pp10-29.
Dams, L. (1985) Palaeolithic lithophones: descriptions and comparisons. Oxford Journal of Archaeology, 4(1), 31-46.
Dauvois, M. (1989) Son et musique paléolithiques. Les Dossiers d'Archéologie No 142: La Musique dans l'Antiquité. 2-11.
Fletcher, N. H., & Rossing, T. D. (1998) The physics of musical instruments (2nd edn.) New York: Springer-Verlag.
Lawson, G. (1999) Getting to grips with music's prehistory. In Experiment and Design: Studies in Honour of John Coles, A. F. Harding (Ed.) Oxford: Oxbow Books.
Merker, B. (1999). Synchronous chorusing and the origins of music. Musicae Scientiae, Special Issue. 59-74.
Miller, G. F. (1997) Protean primates: the evolution of adaptive unpredictability in competition and courtship. In Machiavellian Intelligence II: extensions and evaluations. A. Whiten & R. W. Byrne (Eds). Cambridge: CUP.
Mithen, S. (1996) The Prehistory of the mind. London: Thames & Hudson
Pinker, S. (1997) How the mind works. New York: W.W. Norton.
Trevarthen, C. (1999) Musicality and the intrinsic motive pulse: evidence from human psychobiology and infant communication. Musicae Scientiae, Special Issue. 155-215.
Vaneechoutte, M. and Skoyles, J.R. (1998). The memetic origin of language: modern humans as musical primates. Journal of Memetics - Evolutionary Models of InformationTransmission, 2.
Wallin, N.L., Merker. B., & Brown, S. (Eds.) (2000) The Origins of Music. Cambridge, Mass.: MIT Press.
Project researchers
This project is funded by a British Academy Small Grant (SG-30046) and is being conducted by Ian Cross in collaboration with Professor Ezra Zubrow of the University of Buffalo and the Department of Archaeology, University of Cambridge and Dr Frank Cowan of the Cincinnati Museum Center, with the assistance of recent Cambridge music graduates Lis Fleming and Paula Constant.
Publications
Cross, I., Zubrow, E. and Cowan, F. (2002) Musical behaviours and the archaeological record: a preliminary study. In J. Mathieu (Ed.), Experimental Archaeology. British Archaeological Reports International Series 1035, 25-34.
Media Web Reports
The Lithoacoustics project has been reported on by both ABC and the BBC - see their Web sites at ABC News and BBC News.
Last updated 17.06.02 by Ian Cross
Return to Ian Cross's home page
Music From a Stone
Scientists Create Stone Instruments to See if Early Man May Have Played Them
Scientists crafted more than 100 flint tools and then tried playing them. (Betty Lee Wilson)
By Amanda Onion
Sept. 8 — The sound is like a gentle rain of quick, high-pitched notes, accented by an occasional “ping.” It’s played from an unlikely source and scientists believe it could be a model of man’s earliest music.
“We took the strategy of taking what materials preserve well — stone tools — and then we asked, ‘could they make suitable instruments?’ ” says Frank Cowan, the assistant curator of archaeology at the Cincinnati Museum Center who fashioned the stone instruments. “The answer is yes.”
Scientists have long pondered how early our ancient ancestors began creating music. Flutes, crafted from vulture-wing bones about 36,000 years ago in France, are the earliest confirmed instruments. In 1996 scientists claimed they had found an even older flute, made from bear bone, in a site that our ancestral cousins, Neanderthals, inhabited 43,000 years ago. But researchers have since argued an animal’s chewing teeth created the bone’s holes, not a prehistoric musician.
The problem is, materials that might have made the best ancient instruments, like bone, canvas and wood, don’t preserve well. Stone, on the other hand, preserves very well. Stone tools date as far back as 2.5 million years. Could prehistoric people have played their stone tools as instruments? To find out, the team of scientists decided they had to try themselves.
The Ring of Clicking Flint
Under the guidance of University of Buffalo archaeologist Ezra Zubrow and University of Cambridge musicologist Ian Cross, Cowan crafted about 100 stone instruments. He struck flakes of flint from the core of a large rock and chipped them into mostly long and narrow shapes. Then he tailored each piece, adding a curve here or a sharp edge there.
The flint blades are played by tapping them against each other. (Betty Lee Wilson)
The stone tools were then presented to a group of musicians from the University of Cambridge who played them by clicking one stone against another. Because flint, which is a variety of quartz, has many glass-like qualities, striking the stones together created sounds with a slight ring. But, just as different violins or pianos produce different quality sounds, so did the stone flakes.
“Some of them sounded pretty dead,” says Cowan. “But others had some very nice, very pure tones.”
After some practice, a group of six musicians came up with a recording that sounds something like a mystical movie sound track (see attached audio file at the top of the page).
Not only can the stone flakes create music, they also double as cutting tools. That’s because the scientists believe our ancestors were most likely practical people and may have used their stone tools both for playing and cutting. Cowan has fashioned thousands of stone tools in an effort to understand ancient tool-making and he reports the process, itself, can be musical.
“I become very attuned to the sound qualities of the stone as I make tools,” he says. “I really think the musical properties of the stone would not have been lost on our ancestors.”
Zubrow and Cross have studied the stone instruments their team created in great detail. The next step is to find similar patterns in stone tools from the archaeological record that date as far back as 2.5 million years to confirm the tools may also have been used for music.
“When we put the material under the microscope, we found there was a unique wear pattern,” says Zubrow. “So if you played them as instruments, the results were very different than if they had been used as knives.”
So far they’ve found a couple of pieces from a collection taken from a site of early Homo sapiens in France that seem to have the same wear patterns as the team’s stone instruments. Zubrow emphasizes, however, that those results are still premature.
Fascinated by Sound
Although clicking flint flakes may not be the easiest way to make music, some scientists are convinced ancient people devised a way to do it.
“I’ve always thought that stone tools may have been used as musical instruments because people have always been fascinated with the sound effects they get from doing everyday things,” says Graeme Lawson, an archaeologist at the University of Cambridge who specializes in ancient instruments. “I think that would be no less true in early prehistoric times. The problem has been in proving it.”
Being able to identify and date instruments to a very early time might also help settle another debate: whether music played a role in helping early humans develop cognitive abilities, including language. The M.I.T. linguist Steven Pinker argues that music played only a peripheral role in our ancestors’ development. As he writes in his book, How the Mind Works, “music is auditory cheesecake.”
“Compared with language, vision, social reasoning and physical know-how, music could vanish from our species and the rest of our lifestyles would be virtually unchanged,” he writes.
But Cross, the musicologist who helped conceive the stone instrument project, believes music may have been a critical signal of why our ancestors survived while Neanderthals and Homo erectus did not. He points out that most musical artifacts have been found only in sites where our direct ancestors, Homo sapiens, lived. Might that, he writes in an essay in Music, Mind and Science, “constitute a competence specific to our species?”
“Listen to someone speaking Chinese and if you don’t know the language, you won’t understand anything,” says Zubrow. “But listen to Chinese music and you’ll be able to enjoy and understand it to some degree. Because it’s more general, maybe music did precede language.”
Whether or not music helped shape the minds of ancient people, Zubrow is at least confident it helped shape a pleasant society.
“I think we all have this idea that early people were violent,” he says. “So I think it would be awfully nice to show that wasn’t entirely the case. It would be very nice to trace that civilizing influences like music have been around for as long as violent ones.”
Problems in the evaluation of discoveries of musical bodies of antiquity and their proposals of confrontation.
Urany Mpa'noy
The environment of field of research
Up to before few times the sciences they was moved with more comfort ana'mesa in aytoprosdjorjsmo' their parameters and the deepening of individual their cell, allowing in the research returns from the centre to the region and reverse. The relation of every of science with her regionally relative was limited in the respect of limits and in the observation of considerable distance between the cognitive objects.
Mainly through the effort to be fixed new complex specialisations for the service of modern needs are developed wider scientific fields that include relatives, neighbouring or even up to now foreigner or parallel between them scientific sectors (Ecology with Medical, Pedagogics with Architecture, Sciences of Administration with Psychology k.a.).
This djtti' or multiple approach in the ancient Greek music had up to today enough fertile and frequent interesting results, kacw's a big category of musicologists, musical, historians, archaelogists, researchers of theatre, laogra'fwn or artists synwcoy'ntaj round a mesh of interests and specialities. The increase of naturally interest in the individual specialities often does not become joint, and nor always with common terms. We can however accept that without fail it follows the terms of science or art.
Thus are formulated questions, are decided experimental applications and are fixed approaches methodological and practically various. What however practically enriches our knowledge does not appear to be enough in order to it finally fixes our common language above in the subject.
The evaluation of information
In the space of Music our knowledge for the final past with which it did not exist constantly supported mainly in affairs with data descriptions or parepo'menes information. The investigation of musical action of antiquity consequently was based on affairs what emanated through various seasons sources that reach up to us, but also in information and reports through other arts, as art of theatre, the reason, the dance etc
Sporadjke's and no jsovarej's as for their deepening analyses for himself ihogo'na bodies – musical bodies remained or they mainly remain a anexerey'nito material that his examination owes to be re-defined with new terms and treaties.
Kat’ beginning we will attempt to determine in who points already we have acquired inquiringly the common report. A ap’ these are sure the first classification with regard to in the categories of sources from which we draw precious and explicit cells for n’ we restore this art at the antiquity.
Thus, in their classic classification, this sources can be separated in indirect and direct.
Here is attempted a approach in the category of direct sources and more concretely in the category of discoveries of musical bodies.
ARMING degree conservation ancient given but also their possibility of identification and re-establishment of their initial form and the daily search of young persons cell that results they constitute a wide and interesting field of common research, where the precision and the safety of information can lend in the often vague outlines of this been famous art of antiquity one desirable and scientifically valid eykrj'neja.
The first therefore also sovereign question that results it is the review of parameters and the functional connection of information between them in the effort of re-establishment of lost rings that of historical reality. How it can take place however such something with the anabila'fisi of our data?
The basic proposal for the classification of sources, acceptable today for a big team of researchers, has been applied in most from the efforts of common estimate of information. However, as long as positive and it appears this for our further course does not cease it contains also particularly nebulous parameters that up to now experience have proved that it can they lead to erroneously cell and conclusions, dysepj'lytes situations and re-establishments of truth seen from different optical.
This is owed mainly in two reasons:
A) The different fields of research and their approach that does not become automatically neither everywhere with the same method, kacw's the process and the degree of knowledge for each one from them vary for each researcher. This rungs of approach of ancient data can nevertheless be fixed with safety in four different starting lines
the fjlologjki' approach of sources
the archaeological viewpoint
the moysjkologjki' investigation and
the comparative research and the experimental re-establishment with modern terms.
The usual management of our information however does not also depend kat’ need with the most optimal possible terms in total optical and the starting lines is not faced as jsovarej's, similar and parallel speed
V) The information which comes to us with base this the classification is direct, nor kat’ need extensive, brings besides with her weights and ambiguities of past from which often it is impossible him we exempt finally.
A other classification
But as we return in our sources Re-examining the terms we can we distinguish a adja'spasti chain of sources, temporally methodological and practically. Independent from real sizes of examined objects – of sources we observe that certain by the cells they are produced in first authority, other follow, which follow other of k.o.k.Epome'nws different character of classification could be in primary and derivative sources.
The basic point that us is useful here as criterion is himself activity – in the case our that is to say musical action. For the human voice we do not have no possibility of registration of likely particularity, mainly exajtj'as the micrometer of relatively time for by any chance evolutionary – fylogenetjki' difference. For the musical bodies however, we have a very important and precious cell, the discovery. Without fail here we will need helper the picture, and they are not the few times where the picture us leads to the roughly final re-establishment of his lost cells.
Object – discovery is consequently undeniably primary source, provided that it constitutes
a. fe'ron the basic information
V. a undeniable value for the estimate of remaining information but also
g. independent unit of work of art, that brings the characteristics of development and interaction with the other sectors for the season where it is examined.
With base this reading the discovery is faced as starting line and no as confirmation of existing readings.
Two questions result :
a. Right the is directive of our discovery?
and V. we have safety ‘o'tan him we restore?
Here it does not need it is added, I believe, and the third very basic question: the are archaelogists anaskafej's allocated they deliver this special information in the critical time where we still can n’ we draw entire his energy? But this it is more well discussed in the proposals.
The evaluation of discovery
As was said and more, the first condition for the asked interconnection of discoveries and operation, Archaeology and Musical Antiquity, it is the completed picture of discovery, the himself this kac’ eayto' as much as comparatively with other similar and proportionally.
The second condition is the technologically possible today investigation of operation of – production of sound from the ancient object, creation of file of registration of sounds from various discoveries at categories.
Third are the connection and estimate of sound results with the corresponding data of science and art on the dance, the space and his acoustics, the reason as text and so on
Provided that it exists henceforth this material in the hands of musicologists is possible their own synthetic henceforth evaluation for the combination and the harmonisation the more (1,2 and 3) data and questions on the music with the narrowest significance of search of past.
In this proposal we limited itself in the registration of thoughts and questions with regard to the first condition. We will attempt n’ we elect the importance of this questions concerning a very known example, the ly'ra of Elgjn.
This discovery takes his name from the collection Elgjn, in which it belongs. It reached in London in 1816, with remainder (known) discoveries 1 . It is exposed in the British Museum and brings cetane number of discovery GR 1916.6-10.501. It is the cells ly'ras that were found in burial that is dated at approach in the 4 aj. p.H. 2 in the band of arhaj'as road to the Eleusis.
The reproduction of publicised information which reaches up to us constitutes complex as much as labyrinthian in his investigation setting, which requires particular indication in order to becomes perceptible the basic value of multiple proposed approach.
A confusion that keeps almost one century places this body between completed as for their examination, restored and exposed in the wide public. It is however thus the things?
Researchers in the past have expressed doubts for whether he is actually one or two bodies, which the cells of syneptygme'na constitute today the re-establishment known arhaj'as Greek ly'ras. His report with restored shell – ihej'o includes however, dj'pla s’ this, a department of ancient shell, reducing automatically in the common origin and identification of object m’ what is restored exhibition.
At the investigation of subject and his parameters result the followings:
J. That in the collection of British Museum exists only a ly'ra
JJ. That it should indeed existed second ly'ra, that our cells of are mainly unknowingly, as well as her current place or situation (only k. L . Beschi 3 djexe'rhetaj enlighteningly this case) and
JJJ. That, finally, the two ly'res emanate from different excavations, which the common time of or the common chance joined the discoveries, excluding only the second body, in certain future phase to present itself in scientific publication and to interpret thus with more precision the situation.
IV . With regard to in the ancient department of shell – ihej'oy that it accompanies the restored body results that this shell is not related only that as a sample – no from the better saved – of treatment ihej'oy ly'ras. The real origin of particular cell is from the Jalyso' of Rhodes, as report the corresponding researchers.
Why now the particular report?
Our information with regard to in primary as were mentioned before sources is the more important and sure vaulting horse, above in which the ideas and the opinions can support itself and cause questions, proposals and conclusions. It is not possible we are based in on second object - discovery. But in order to it has real value as for this, will be supposed also the discovery to have his cell of identity, to be possible us to lead with safety and to be possible to speak to the language that we have selected as common for this approach.
The proposals. The energies that should become from the same viewpoint.
What should become?
It can be recommended a permanent file of discoveries with up to now existing knowledge round the subject, which is enriched and it is renewed continuously, without the suspensive and dy'skampti operation of management of discoveries from the corresponding services. The delivery and the safety have much bigger value than their circumspect and often very long-term evaluation from researchers that are not specialised in the subject. S’ this naturally very big role is called to play the application of legislation that concerns in the exploitation and publication of archaeological discoveries from the central service of Ministry of Culture. The suspicion of anaskafe'a archaelogist that has found front s’ a discovery musical body will be supposed to become comprehensible that it is interpreted as big occasion is given immediately precious information on further treatment and no as eptasfra'gjsto secret, communicable in ten, twenty, thirty times depending on the obligations anaskafe'a.
Become steps as for the essential and functional collaboration between the sectors of research, are given basic and single formulated parameters that concern in this collaboration, finally a common language the communication in this sectors it ensures the essential and constant consent in the individual analyses, but also the absolute confidence that pe'ran the ecjmjki's obligation we opposite have in the discovery.
The discovery is kat’ beginning responsibility and price for archaelogist – all however gets to know that without the essential environment his information will be lost, will become vora' in the time and will function simply as a interesting moysejako' exhibit with doubtfully cell of identity. It is something which we believe that apey'hontaj all.
Closing, I would want to add still a observation.
A archaelogist went up in the step for such thematic and you thanks once again gj’ this. I get to know however well who it was the first thought that can possess many from the audience: the archaelogists and historical is art their kat’ extension we have helpers for many ap’ the questions of daily life at the antiquity, with gentleman and being first role n’ they recall individually the probative power recorded in picture phase of this life. As long as attractive and she is this parameter of our collaboration does not cease n’ constitutes one of small value and rather fictitious cell for n’ we restore this everyday routine.
I explain itself:
Attempting a examination offered up to today sources of arhaj'as music, we can observe, s’ that it concerns in the Greek space, that generally the depictions that us give information on the existence of forms of music in in the everyday routine of individual of precocious antiquity, are enough, so that they convince for the delivery of musical action of many centuries.
J. The depiction, for example, pneystoy' or triangular (poly'hordoy) body in figurines of Kykladjki's of Art (ends of 3 is millenium p.H.), the in detail description of composer of type pneystoy' and enough evolved type e'ghordoy in the written carnivorous of Saint Trinity (14 os aj. p.H.), testify a course very more distant than the one that is described by the written sources for the production of musical sounds.
JJ. They are publics acceptable the opinion, that the depiction of object parjsta' that on big time interval it preexists in use and constitutes already known point of report for the author of depiction 4 .
This opinion is often supported in reinforcement of safety of information, that provides the iconography in the subject. The himself from alone her it cannot be characterized as being mistaken. The iconography is, a'llwste a basic source of information on the reading of antiquity, and more specifically on subjects of daily life.
The exploitation of however this information on the ancient music and the ancient musical bodies contains enough impossible points (as eg the compatibility of depiction, the personal perception of artist of antiquity 5 ), which can cause confusion for the real data. 6
The information, consequently, the iconography cannot be considered absolutely sure for the re-establishment of saved objects. 7
Deductively, we can fix the place that of proposal as research in real and no in the desirable growth of picture, provided that it attempts n’ it analyzes the primary component (the discovery) with the support of remaining sources (written or figurative testimonies).
1 For the discoveries of collection Elgjn, vl. JHS 36,.1916, 214 k . e (“Lord Elgin and his collection”).
2 From the same burial emanate two wooden pipes from sykomore'a.
3 Beschi L., “La tomba di una fanciulla antica”, Studi Miscellanei 30, 99-108.
4 The knowledge of operation of object (in this case the production of music from a body that is portrayed) does not constitute naturally, essential condition for his placement in a representation. The picture of object is consequently symbol and no faith representation.
5 His dil. interpretation of reality, as it is expressed through the art toy(zwgrafjki', sculptural k.l.p.)
6 Individual cell of this basic disagreement c’ they are reported here nor moreover it is deliberate, in the frames that of work. However, in each use of information of this source, it owes to function the sect of reliability in the description of reality.
7 For this reasons a'llwste, up to today efforts of re-establishment of ancient musical bodies with base the iconography to them they are only covered at a big part by the modern artistic creation.
Minek kell megvalosulnia? Osszeallithato egy archivum a leletekrol, mely fokozatosan bovul es megujul, kikuszobolve az illetekes szolgalatok merevseget, lassusagat. A biztonsag es az informacio atadasa fontosabb mint az ovatoskodo, idorablo ertekeles azok reszerol, akik nem szakertoi a temanak. Ezert rendkivul fontos a Kulturalis Miniszterum altal a torvenyek helyes alkalmazasa a leletek ertekelesenel, publikalasanal. Az asatast vegzo archeologusok ha hangszert talalnak, be kell hogy lassak, ez nagy alkalom a tovabbi vizsgalatra, es nem hetpecsetes titok, mely tiz, husz, harminc ev mulva kerul publikalasra, a regesz tulterheltsege, rengeteg feladata miatt.
Kozos nyelvet kell kialakitani a kulonbozo kutatasi agak kozt az egyuttmukodeshez.
A lelet elsosorban a regesz dicsosege es felelossege - a keslekedo publikalas azonban informaciok elvesztesevel jar, igy a lelet egy ketseges, hianyos ismereteken alapulo, bar erdekes muzeumi targy lesz.
Zaraskepp egy megjegyzes.
Egy archeologus szolt, es koszoni az alkalmat. Tudja azonban, mi lehetett az elso gondolata sokaknak a hallgatosagbol...
Osszefoglalva megallapithatjuk, hogy elegendo informacionk van ahhoz, hogy a korai okor zenei eletet abrazoljuk, igy meggyozodjunk egy messzire nyulo zenei hagyomanyrol es gyakorlatrol.
I.Egy fuvos vagy huros hangszer abrazolasa a kyklad muveszet alapjan (3. evezred i.e.), az Agia Triada szarkofag reszletezo kepei (14.sz.i.e) pelda a fentebb mondottakra.
II.Elfogadott, hogy egy kep arrol tanuskodik, hogy az abrazolt targy mar hosszu ideje hasznalatos, ismert hivatkozasi pont a kepet alkoto szamara.
Az ogorog hangszerek vizsgalatanal azonban eleg sok a buktato,kozos megegyezesen alapulo 'symbatikus' abrazolas, a muvesz egyeni felfogasa megzavarhatja a valos kepet kereso kutatot. Igy a kepi abrazolasok nem adnak elegge biztonsagos alapot a hangszer valosagos formajanak megertesehez.
Osszefoglalva: az elsodleges leletek analitikus vizsgalata, a masodlagos forrasokkal valo oszevetese, (irott, eikasztikus tanusagok) vezethet a valos hangszer forma megtalalasahoz.
[ Figyelem: A Banou eloadas ismertetese egy gyors, roviditett, elso olvasat. Finomitasra, javitasra szorul! Egyebkent irtunk a szerzonek, doktori disszertacioja felol erdeklodve. Remelem rovidesen idezhetunk belole. S. megj.]
Hanem most mar kanyarodjunk vissza a forrasainkhoz. Ujravizsgalva a fogalmainkat, megfigyelhetunk egy megszakitatlan forras lancolatot, idoben, modszerben, gyakorlatban.
Fuggetlenul a vizsgalando targy-forras valosagos meretetol, lahato hogy nemely elemek elsodlegesek, masok masodlagosak, melyeket ujabbak kovetnek, stb. Kovetkezeskepp a kulonbozo jellemzoju rendszerezesek lehetnek elsodlegesek, vagy masodlagosak, egymasbol kovetkezoek.
A szamunkra hasznos kriterium itt a cselekves, a zenei gyakorlat. Az emberi hangrol nincs lehetosegunk egy valoszinusitheto kulonbozoseg erzekelesere, foleg az emberi filogenetikai valtozas viszonylag kis ideje miatt.
A hangszereknel azonban van egy nagyon jelentos es ertekes elem, maga a lelet.
Mindenkepp szuksegunk van azonban a hangszer kepere, es gyakran a kep elvezet egy nagyjabol kielegito rekonstrukciohoz, az elveszett jellemzok megtalalasahoz.
A lelet-targy tehat kovetkezesekeppen elsodleges forras, mivel:
a)alap informaciot ad,
b)a mas forrasok ertekelesehez, megbecsulesehez, de a
c)muveszetek nyujtotta tanusagok ertekelesehez is segit, megmutatva a fejlodest, a kolcsonhatasokat mas teruletekkel a vizsgalt idoszakban.
Ezen az alapon a lelet kiindulopont a vizsgalatban es nem csak a meglevo ismeretek igazolasa.
Ket kerdes merul fel:
a)Helyes a leletunk utmutatasa?
b)A rekonstrukcioja biztonsagos?
A harmadik nagyon lenyeges kerdes: az asatasok archeologusai keszsegesek ezen informaciokat tovabbadni egy kritikus idon belul, mikor meg frissek, es igy nem vesz el a lehetoseg a finomabb reszletek feltarasara? Ezt a kerdest jo lesz megvizsgalni tuzetesebben.
A lelet ertekelese
Az elso feltetele a lelet es mukodese szempontjabol az, hogy atfogo kepunk legyen rola osszevetve mas leletekkel is.
A masodik feltetel a technologia hasznalataval a hangszer hangjanak rekonstrualasa amennyire csak lehetseges, es egy adatbazis letrehozasa kategoriak szerint.
A harmadik feltetel a hangzo anyagbol kiindulva, azt osszekapcsolni a tudomany mas hasonlo adattaraival, a muveszet, a tanc, a kornyezet, az akusztika, a szoveg stb. felol.
Miutan ez az anyag a muzsikologusok kezeben van, lehetsegesse valik most mar a reszukrol egy osszehasonlito, ertekelo vizsgalat.
[A kovetkezo bekezdest lasd a lyra rovat 2003-07-01 11:20:34 (300) szamu hozzaszolasaban, itt az ismetles elkerulese vegett csak vazlatpontjait ismertetjuk.
Elgin lyra pelda:
1)a leletet nem kielegito ismertetese
2)lenyeges reszletek homalyban maradnak
3)hianyzik a masodik lyra (nem publikalt lelet!)]
Miert ez a konkret hivatkozas? Mivel az elsodleges forrasok a legjelentosebbek, nem lehetseges masodlagos informaciokra tamaszkodni.
The conservation and technology of musical instruments :
a bibliographic supplement to Art and archaeology technical abstracts, volume 28 /
Cary Karp
1992
English Book xiii, 237 p. ; 22 cm.
[Marina del Rey, CA?] : Getty Conservation Institute in association with the International Institute for Conservation of Historic and Artistic Works, ISBN: 089236209X
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Title: The conservation and technology of musical instruments :
a bibliographic supplement to Art and archaeology technical abstracts, volume 28 /
Author(s): Karp, Cary.
Corp Author(s): Getty Conservation Institute. ; International Institute for Conservation of Historic and Artistic Works.
Publication: [Marina del Rey, CA?] : Getty Conservation Institute in association with the International Institute for Conservation of Historic and Artistic Works,
Year: 1992
Description: xiii, 237 p. ; 22 cm.
Language: English
Standard No: ISBN: 089236209X
SUBJECT(S)
Descriptor: Musical instruments -- Bibliography.
Instrumentos musicais
Note(s): "AATA abstracts ... volume 28, number 3, 1991"--Spine./ Includes indexes.
Class Descriptors: LC: ML460
Other Titles: Art and archaeology technical abstracts.
Responsibility: Cary Karp, editor.
Document Type: Book
Entry: 19920617
Update: 20020809
Accession No: OCLC: 26033254
Database: WorldCat
A zene teruleten ismereteink a regmultrol - melyhez nem vezet ut folytonossag hianyaban, (megszakitas) - hypoteziseken, korulirasokon, kozvetett informaciokon alapulnak.
Az okori zenei gyakorlatrol a muveszetek, a szinhaz, a tanc stb. teruleterol kapunk informaciokat. A hangszerek vizsgalata mindmaig elegtelen, ennek az anyagnak a vizsgalata felulbiralatra, javitasra szorul, uj alapokra helyezve.
Eloszor is megprobaljuk meghatarozni, mely pontokon sikerult kozos nevezot talalni. Egy ezek kozul biztosan a forrasok es azok fajtainak felsorolasa, melyekbol ertekes es vilagos informaciot kapunk.
A forrasok a klasszikus beosztas szerint lehetnek kozvetettek es kozvetlenek. Itt a kozvetlen forrasokrol szolunk, konkretabban a hangszer leletekrol. A rekonstrukcio, az azonositas, az uj adatok keresese egy nagyon erdekes alkalom a kozos kutatomunka vegzesere, ahol a pontossag es az ellenorzes lehetove teszi sokszor az egyebkent homalyos reszletkerdesek megvilagitasat.
Az elso es fo kerdes a regi vizsgalatok felulbiralasa, az informaciok osszevetese, a hianyzo lancszemek potlasa. Mi modon tortenhet mindez?
A forrasok rendszerezeset a kutatok nagy csoportja elfogadja, kozos alapot keresve.
Mindazonaltal sok a homalyos pont, es a tapasztalat azt mutatja, hogy ez hibas kovekeztetesekre vezethet. Ennek ket oka van:
A)A modszer a kulonbozo teruleteken nem ugyanaz. Mindazonaltal a megkozelites feloszthato negy csoportra
-philologiai
-archeologiai
-muzsikologiai
-osszehasonlito es kiserleti rekonstrukcio mai parameterekkel.
A forrasok kezelese azonban nem homogen.
B)Az informacio nem kozvetlen, gyakran nem reszletes, igy homalyban maradnak, elvesznek ertekes adatok.
Az alabbiakban megkezdjuk az IEMA Elso Panhellen Zenei Konferenciajan (2002.XII.14.) elhangzott egyik hozzaszolas ismerteteset. Ourania Banou "Az okori hangszerleletek ertekelesenek problemaja es javaslat a tema kezelesere" cimmel tartott eloadast.
[Eloljaroban rovid szakmai eletrajz:
1959-ben szuletett Tesszalonikiben.
Jogot vegzett a Demoktritos Thrakia Egyetemen.(1984 diploma.) Tanulmanyait Az Arisztotelesz Tesszaloniki Egyetem tortenelem es archeologia szakan folytata (1989 diploma). Doktori disszertaciojat A Klasszikus okor hangszerei cimmel irta. 1967-76 kozt zenei tanulmanyokat vegzett (theoria es zongora) az Az Allami Teszaloniki Zeneiskolaban.
Reszt vett a verginai, a Dion, Philippon, a Tesszaloniki Okori Agora stb. asatasokon.
Az ogorog hangszerek tanulmanyozasat a leletek alapjan vegezte. Elso kezbol szarmazo anyagot publikalt a kettos pidnasi aulosrol 1997-ben Tesszalonikiben, az Ogorog Technologia konferencian. Egyuttmukodott az APT Pszichoaukusztikai Muhelyevel a hangszerek modellezeseben. A kutatas eredmenyeit kozesen publikaltak, a kutatocsoport kulonbozo szakembereivel, az okori hangszerek hangzas karektererol (2000), kulonos tekintettel a kettos aulosra. Reszt vett az ICMC Zenei Informacios Progamjaban(1996/97).
Dolgozott a Makedon Thrak Miniszteriumban kulturalis teruleteken. Tanitott muveszettortenetet es gorog zene tortenetet. Jelenleg a Makedon Egyetem Zenetudomanyi Szakan tanit.]
A kutatasterulet kornyezete
Nehany evvel ezelott a tudomanyok mozgasa konnyebb volt a reszteruletek korulhatarolasa, a kutatas elmelyitese szempontjabol, megengedeve a kutatasnak, hogy a 'kozpontbol' a 'szelek' (centrum, periferia) es forditva haladjon. Minden tudomanyag a rokontudomanyok hataraira tisztelettel tekintett, betartva a tisztes tavolsagot.
A mai igenyek kielegitesere uj szakagak es azok kombinacioi nyiltak, kibovitve a tudomanyos terepet, egyuttmukodeve a rokon es az 'idegen' tudomanyagakkal. Okologia az orvostudomannyal,pedagogia az epiteszettel, stb.
Ez a sokoldalu megkozelitese az ogorog zenenek mindmaig eleg termekenynek mondhato, es figyelemre melto eredmenyekre vezetett. Sok muzsikologus, zenesz, tortenesz, archeologus, szinhaz kutato, neprajzos, vagy muvesz mukodik egyutt kozos cellal. A reszkutatasok gyakran nem talalnak kozos fogalomtarat, mindazonaltal elfogadhatjuk, hogy kovetik a tudomany, a muveszetek szabalyait, terminologiajat, meghatarozasait. Igy megfogalmazodnak kerdesek, dontesek szuletnek a kiserleti alkalmazasokra, meghatarozzak a kozelitesi modokat es gyakorlatot. Ami azonban gazdagitja az ismereteinket, ugy tunik nem elegseges ahhoz, hogy meghatarozza vegsosoron a kozos nyelvet egy konkret temaban.
Erdekes lenne a bendzsot tanulmanyozni,kulonosen a bor mebran szerepet, technikai kerdeseit, a hangzast osszevetni a lyraval.Milyen akusztikus hatast valt ki membran. Honnan, milyen a bor, hogy munkaljak meg, stb.
