AURIGNACIAN RHAPSODY With, through and about flutes from Swabian origins, in-between a priori, and a posteriori

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Zitierfähiger Link (URI): http://hdl.handle.net/10900/167762
http://nbn-resolving.org/urn:nbn:de:bsz:21-dspace-1677629
http://dx.doi.org/10.15496/publikation-109089
Dokumentart: Dissertation
Erscheinungsdatum: 2025-07-10
Originalveröffentlichung: Gill, Frances, 2012. Flute Lines: Experiencing Reconstructions Concerning Music. Bachelor dissertation in archaeology. School of Cultural Sciences, Linnaeus University, Kalmar/Växjö. Gill, Frances, 2016. Foraging for Sound: Towards a Palaeolithic Flutescape and its Tonal Associations. In: Eichmann, Ricardo/Fang Jianjun / Koch, Lars-Christian (Eds.), Studies in Music Archaeology X, Sound – Object – Culture – History. Verlag Marie Leidorf GmbH, Rahden/Westf, pp. 251-255. Gill, Frances, 2020. Ears to the Ground: On Cajsa Lund’s Legacy and Moving Movements. In: Kolltveit, Gjermund / Rainio, Riitta (Eds.), The Archaeology of Sound, Acoustics and Music: Studies in Honour of Cajsa S. Lund. ICTM Study Group on Music Archaeology, Vol. 3, Ekho Verlag, Berlin, pp 55-96. Gill, Frances / Petersson, Bodil / Weheliye, Fadumo 2021. An experimental approach to heritage and music through a SOUNDmound at Sandby borg, Sweden: developments in method and practice. In: Maloney, Liam / Schofield, John (Eds.), Music and Heritage: New Perspectives on Place-making and Sonic Identity. Routledge, London, pp. 201-211. Münzel, Susanne C. / Conard, Nicholas J. / Hein, Wulf / Gill, Frances / Potengowski, Anna Friederike, 2016. Interpreting Three Upper Palaeolithic Wind Instruments from Germany and One from France as Flutes. (Re)construction, Playing Techniques and Sonic Results. In: Eichmann, Ricardo/Fang Jianjun/Koch, Lars- Christian (Eds.), Studies in Music Archaeology X, Sound – Object – Culture – History. Verlag Marie Leidorf GmbH, Rahden/Westf, pp. 225-243.
Sprache: Englisch
Fakultät: 7 Mathematisch-Naturwissenschaftliche Fakultät
Fachbereich: Geographie, Geoökologie, Geowissenschaft
Gutachter: Conard, Nicholas (Prof. Dr.)
Tag der mündl. Prüfung: 2023-07-19
DDC-Klassifikation: 000 - Allgemeines, Wissenschaft
100 - Philosophie
150 - Psychologie
300 - Sozialwissenschaften, Soziologie, Anthropologie
500 - Naturwissenschaften
550 - Geowissenschaften
780 - Musik
930 - Alte Geschichte, Archäologie
Schlagworte: Flöte , Musikinstrument , Experimentelle Musik , Musikarchäologie , Experimentelle Archäologie , Jungpaläolithikum , Aurignacien , Schwäbische Alb , Ritual , Entwicklungspsychologie , Kulturerbe , Semiotik
Freie Schlagwörter:
Upper Palaeolithic Flutes
Aurignacian Sound and Music
Music Origins
Human Music Evolution
Music Cognition
Developmental Psychology
Children in Archaeology
Phenomenology
Ritualisation and Fetishisation
Semiotics
Material Engagement Theory
Trans-disciplinarianism
Music Archaeology
Experimental Music
Performer as Composer (Performing Practice)
Contextual Experimental Archaeology
Experimental Heritage
Lizenz: http://tobias-lib.uni-tuebingen.de/doku/lic_ohne_pod.php?la=de http://tobias-lib.uni-tuebingen.de/doku/lic_ohne_pod.php?la=en
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Abstract:

Life situations, acoustic spaces, melodic-harmonic musicality, and children, are contexts from which a number of experiential observations are amplified as related to material engagement with, through and about three particular archaeological artefacts from the Swabian Aurignacian referred to as the Ach flutes. In themselves these observations are enmeshed across a series of archaeo-organological experiments which are interrelated in respect of immutable fluting, hypothesised as a tangible aspect of the human compulsion to play with sound. The Ach flutes appearing so early on in the archaeological record provide an indication that fluting was a niche that modern H. sapiens harnessed in order to thrive and that these behaviours may be raised in reflection to the demise of the Neanderthals. Music and the origins of music are deconstructed from postcolonial and gender perspectives, which includes perspectives on ritualisation and fetishisation. Human evolution and the evolution of human music are also outlined. Music is argued as being functional, and results from quantitative and qualitative data lead to the logical abduction that the Ach flutes directly enhanced the survival of the Aurignacian Achtalians. Music making – as in the generating of sound patterns via processes of sound patterning – starts in infanthood through provisioning, ontogenically first enhanced in the universal cradle of the mother-infant dyad. This is supported by perspectives which draw on numerous aspects of developmental psychology concerning sound and music, touching on the subject of children and young adults in archaeology, termed umbilical chords. An unwritten but assumed hypothesis that the hall at Hohle Fels was a place for fluting in the Aurignacian Achtal is overturned in favour of an appreciation that not only concerns dealing with the particular caves in which flutes and flute fragments were found, but also the environment in which the caves are embedded, in this case, the Ach Valley. Researching and understanding the musical cognition of modern humans using the archaeological record as a proxy is theorised and practised via an appreciation of critical Peircian semiotics in which a rationale for the dynamic icon is developed for fluting behaviours.

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