Rupert Till

Sound archaeology: terminology, Palaeolithic cave art and the soundscape

Abstract This article is focused on the ways that terminology describing the study of music and sound within archaeology has changed over time, and how this reflects developing methodologies, exploring the expectations and issues raised by the use of differing kinds of language to define and describe such work. It begins with a discussion of music archaeology, addressing the problems of using the term ‘music’ in an archaeological context. It continues with an examination of archaeoacoustics and acoustics, and an emphasis on sound rather than music. This leads on to a study of sound archaeology and soundscapes, pointing out that it is important to consider the complete acoustic ecology of an archaeological site, in order to identify its affordances, those possibilities offered by invariant acoustic properties. Using a case study from northern Spain, the paper suggests that all of these methodological approaches have merit, and that a project benefits from their integration.

Cave acoustics in prehistory: Exploring the association of Palaeolithic visual motifs and acoustic response

During the 1980 s, acoustic studies of Upper Palaeolithic imagery in French caves-using the technology then available-suggested a relationship between acoustic response and the location of visual motifs. This paper presents an investigation, using modern acoustic measurement techniques, into such relationships within the caves of La Garma, Las Chimeneas, La Pasiega, El Castillo, and Tito Bustillo in Northern Spain. It addresses methodological issues concerning acoustic measurement at enclosed archaeological sites and outlines a general framework for extraction of acoustic features that may be used to support archaeological hypotheses. The analysis explores possible associations between the position of visual motifs (which may be up to 40 000 yrs old) and localized acoustic responses. Results suggest that motifs, in general, and lines and dots, in particular, are statistically more likely to be found in places where reverberation is moderate and where the low frequency acoustic response has evidence of resonant behavior. The work presented suggests that an association of the location of Palaeolithic motifs with acoustic features is a statistically weak but tenable hypothesis, and that an appreciation of sound could have influenced behavior among Palaeolithic societies of this region.

Pop stars and idolatry: an investigation of the worship of popular music icons, and the music and cult of Prince

Prince is an artist who integrates elements from the sacred into his work. He uses popular iconography to present himself as an icon of consumer culture, as a deified ‘rock god’ worshipped by his fans, and as a preacher leading his audience like a congregation. His personality cult mixes spirituality and sexuality, and deals with issues of ecstasy and liberation, a transgressional approach that draws both controversy and public interest. This paper investigates Prince’s work and the role of the pop star as an icon within contemporary culture, an icon that contains a physicality and sexuality not present in contemporary Western religious traditions. It discusses to what extent popular musical culture operates as a form of religious practice within contemporary Western culture, and the implications that this has. The paper investigates the construction of Prince’s public character, his manipulation of the star system, and how he uses popular iconography to blur the distinctions between spirituality and sexuality, the idealised performer and the real world, the sacred and the profane, and the human and the divine. It explores how he possesses and is possessed by the audience, who enter into the hollow vessel he offers up to his fans.

An archaeoacoustic study of the Ħal Saflieni Hypogeum on Malta

Abstract The remarkable subterranean architecture of the Ħal Saflieni Hypogeum on Malta has generated many claims about its dramatic acoustic effects, but previous studies have lacked rigour. A systematic, methodical approach has now been applied to measure the acoustic properties of the site, and to test earlier assertions. The results confirm some, but not all, prior observations, and demonstrate how a sound-based approach can contribute to an understanding of the archaeological context. It is argued that for the people who created the Hypogeum, the acoustics must have had particular significance and ritual power.

Que viva la música popular! International Association for the Study of Popular music, 14th Biennial Conference, 25–29 June 2007, Mexico City

The International Association for the Study of Popular Music’s biennial international conference took place in July this year in Mexico City. The facilities in the Universidad Iberoamericana, a modern private Jesuit University in the city’s business quarter, were excellent, with video projection and a good sound system in all the air-conditioned rooms. The plenary sessions were translated to and from Spanish and also video recorded and streamed onto the Internet, with a blog where watchers could leave comments.