THURSDAY AFTERNOON, 3 JULY 2008 ROOM 242B, 1:20 TO 7:00 P.M. Session 4pAAa Architectural Acoustics: Archeological Acoustics I David Lubman, Cochair DL Acoustics, 14301 Middletown Lane, Westminster, CA 92683, USA Jens Holger Rindel, Cochair Odeon A”S, Scion DTU, Diplomvej Buildling 381, Lyngby, DK-2800, Denmark Invited Papers 1:20 4pAAa1. Sound resonance in prehistoric times: A study of Paleolithic painted caves and rocks. Iegor Reznikoff ͑Université de Paris X, Département de Philosophie, 92001 Nanterre, France,
[email protected]͒ Caves have natural properties of resonance: some parts sound very well, the sound lasts for some seconds or gives several echoes, some other parts have a dull resonance or no resonance at all. It is extremely interesting to compare in a given cave the map of the most resonant locations with the map of the locations of the paintings: are there correlations between resonance and paintings? We have studied many Paleolithic caves in France in which the answer was remarkably positive; stated shortly: the more resonant the location, the more paintings or signs are situated in this location. Here are presented some studies and results in the caves of Isturitz and Oxo- celhaya in Pays Basque and in some other caves. Some considerations are given about the resonance - pictures relationship in open spaces with prehistoric painted rocks. Bibliography I. Reznikoff: Prehistoric Paintings, Sound and Rocks in Studien zur Musikarchäolo- gie III: 2nd International Symposium on Music Archaeology, Sept. 2000, ed. E. Hickmann, Berlin, Rahden, 2002, 39-56. The Evidence of the Use of Sound Resonance from Palaeolithic to Medieval Times, Archaeoacoustics, C.