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EXPERIMENTELLE ARGWOLOGIE In EXPERIMENTELLE ARGWOLOGIE in Europa Bilanz 2010 EXPERIMENTELLE ARCHÄOLOGIE IN EUROPA BILANZ 2010 Heft 9 Herausgegeben von der Europäischen Vereinigung zur Förderung der Experimentellen Archäologie / European Association for the advancement of archaeology by experiment e. V. in Zusammenarbeit mit dem Pfahlbaumuseum Unteruhldingen, Strandpromenade 6, D — 88690 Unteruhldingen-Mühlhofen EXPERIMENTELLE ARCHÄOLOGIE IN EUROPA BILANZ 2010 Any, Uti PFAHLBAU SEUM llNTE N, . RUH,CJEA/413 0DENSEE Im. T A ISENSEE VERLAG OLDENBURG Gedruckt mit Mitteln der Europäischen Vereinigung zur Förderung der Experimentellen Archäologie / European Association for the advancement of archaeology by experiment e. V. und des Landes Niedersachsen Redaktion: Frank Both Textverarbeitung und Layout: Ute Eckstein Bildbearbeitung: Torsten Schöning Umschlaggestaltung: Ute Eckstein Umschlagbilder: Tine Gam Aschenbrenner, Walter Fasnacht Gunter Schöbel Bibliografische Information der Deutschen Bibliothek Die Deutsche Bibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet abrufbar unter: http://dnd.dbb.de ISBN 978-3-89995-739-6 © 2010 Europäische Vereinigung zur Förderung der Experimentellen Archäologie / European Association for the advancement of archaeology by experiment e. V. — Alle Rechte vorbehalten Gedruckt bei: Druckhaus Thomas Müntzer GmbH, D — 99947 Bad Langensalza/Thüringen INHALT Gunter Schöbet Vorwort 7 Ulrike Weller Quo vadis Experimentelle Archäologie? 9 Michael Herdick Das Labor für Experimentelle Archäologie in Mayen (Lkr. Mayen-Koblenz) 15 Ullrich Brand-Schwarz „Living History" als Beitrag zur musealen Vermittlung - Möglichkeiten, Grenzen und Risiken 23 Andreas Willmy Experimentelle Archäologie und Living History - ein schwieriges Verhältnis? Gedanken aus der Sicht eines Archäologen und Darstellers' 27 Tinaig Clodor6-Tissot Archeo-Music The reconstruction of Prehistoric musical instruments: hypothesis and conclusions in experimental music-archaeology 31 Wulf Hein, Kurt Wehrberger Löwenmensch 2.0 Nachbildung der Elfenbeinstatuette aus der Hohlestein-Stadel-Höhle mit authentischen Werkzeugen 47 Leif Steguweit Experimente zum Weichmachen von Elfenbein 55 Friedrich W. Könecke, Jean-Loup Ringot Ovalbohrung neolithischer Steinäxte 65 Peter Walter Bohren im Museum Forschungsgeschichte, Didaktik, Mathetik 71 Gunter Schöbel Das Hornstaadhaus - Ein archäologisches Langzeitexperiment 1996? 85 Holger Junker Autsch! Prähistorische Tätowiertechniken im Experiment 105 Walter Fasnacht 20 Jahre Experimente in der Bronzetechnologie - eine Standortbestimmung 117 Daniel Modl Zur Herstellung und Zerkleinerung von plankonvexen Gusskuchen in der spätbronzezeitlichen Steiermark, Österreich 127 Thomas Lessig-Weller Versuche zur Simulation von Pfeilbeschüssen - erste Ergebnisse 153 Tine Garn Aschenbrenner Glasperlenherstellung in Südskandinavien ... oder: Notruf aus der Feuerstelle ... 163 Ulrich Mehler Das Nibelungenlied in Wissenschaft und Praxis 20 Jahre experimentelle Geschichte, Living History oder Klamauk? 173 Ulrike Weller Vereinsbericht der Europäischen Vereinigung zur Förderung der Experimentellen Archäologie (exar) für das Jahr 2009 179 Archeo-Music These experimentation in music-archaeo- The reconstruction of Prehistoric logy give us an idea of the time and skills involved in the making of these prehistoric musical instruments: hypothesis musical instruments and help us to get a and conclusions in experimental better understanding of their playing tech- music-archaeology niques and their sound-making capabili- ties. The reconstruction of prehistoric musical Tinaig Clodore-Tissot instruments made of bone and other hard organic material: shell and animal horn A) Bones whistles Our PH'D researches on protohistoric and The whistling phalanx, is one of the oldest prehistoric musical instruments unearthed whistles invented by prehistoric man.This in Europe led us to do some experimen- type of whistle made from a perforated tations. We tried to rebuild many of the phalanx of reindeer is dated to the Upper musical instruments made of bone, conch, Paleolithic (35 000 B.C) in Europe (DAUVOIS antler, horn, clay and wood, inventoried for 1994) (Fig. 1). This kind of bone whistle in this thesis (CLoDoRE-Tissor 2006). is also known in the Neolithic and in the Most of these musical instruments rebuild Bronze Age, made from a perforated pha- are wind musical instruments: whistles, lanx from a mammal (cow, deer, dog ...) flutes, bull-roarer, trumpets ... We also did (CLoDoRE-TissoT 2006, 2009. GUITET 2008). reconstructions of some percussive mu- Ethnographical comparisons suggest that sical instruments as ceramics drums. The this whistle could have been used as a aim of our research was first to understand game-call, playing also an important role how these musical instruments have been in the hunt of the reindeer in the Palaeoli- build, and the difficulties of their manufac- thic, allowing the approach of game. This turing technique with flint tools. We will custom is known in North-western Canada discuss about that finds and present their until the early XXe century, where the in- making of, in details. dians called „dernier-bois" used a whistle made of the phalanx of a reindeer to ap- proach the game. Their frenquency range is between 2000 and 3800 Herz. We could imagine with no doubt that these kind of whistling phalanx played a role in long- distances communications. To rebuild this kind a whistle, we just used a flint borer. Less than 5 mn are necessary to make the hole (0, 5 cm in diameter) in the phalanx. This whistle is fast and easy to build (Fig. 2). If the oldest end-blown whistles are da- ted to the Upper Paleolithic (30 000 BC), they are also known in the Neolithic, in Fig. 1. Whistle made of a reindeer phalanx. the Bronze and in the Iron Ages in Europe Laugerie-haute, Les Eyzies-de-Tayac (France). (CLoDoRE-TissoT 2006, 2009. DAUVOIS 1994. L. 4,9 cm. Upper Paleolithic. GuiTEr 2008) (Fig.3). 31 Usually made with bones from small mam- mals orfrom birds, they have a small window (rectangular or semicircular). The archaeo- logical context of discovery suggests that these bone whistles may have played a role as game-calls. They could also have been used for long-distances communications, and probably for the games of children. Once the bone has been cleaned (boiled in water 20 mn), we cut the two epiphysis of the bone to obtain a small tube (8 cm long), with a simple flint blade. The bone is al- ways wet before being cut with flint blades. l carved then a small window (rectangular or semicircular) with the help of a blade- let, at 1,5 cm of the proximal end of the bone. Then We abraded the inferior edge of this window, with another small blade in order to obtain the bladed edge. Once this opening has been done, we put a mall plug made of bee-wax or tar (in that pro- ximal end) and try to obtain a windway by pushing the wax, in order to create then a real end-blown mouthpiece, for the whistle. This last operation is not so easy and the Fig. 2: Processing technique of a whistle reconstruction of a end-blown whistle re- made of a phalanx. quires circa 20-30 mn (Fig. 4). 0 1 1 cJ Fig. 3: Whistle. o Saviese, la Soie 3 (Suisse). 2800-2600 B.C. 32 Fig. 4. Processing technique of a bone end-blown whistle. Photo : T Clodore-Tissot. B) Bones flutes To rebuild a flute, the two epiphysis of the The first flutes attested, with no doubt, bone (from a mama) or a bird) are cut. For a have been made by the hand of the Homo mammal bone (sheep, goat..), we clean the sapiens sapiens, in the Upper Paleolithic interior of the bone to get rid of the narrow (circa 35 000 BC) in Europe (BuissoN 1990. by boiling it +/- 20 mn in water. For a bird CONARD 2009. DAUVOIS 1994) (Fig. 5). Bone bone, we abraded the interior with a thin flutes are preferably fashioned from long wooden stick in order to get a perfect tube. birds bones (vultures, eagles). In the Neo- This first step done, we cut a rectangular lithic and in the Metal Ages, the flutes are opening (0,8 x 0,6 cm) near the proximal fashioned from birds bones, but also from extremity with flint blades or bladelets, bones of mammals (sheep, goat, deer...) in order to obtain the window of an end- (CwooRE-Tissur 2006; 2009. FAGES et al. blown flute like the one found in Veyreau 1983). Prehistoric flutes made of human (Aveyron, France) (CLopoRE-Tissur 2009. bones are exceptional discoveries. Most FAGES et al. 1983) (Fig. 6). of the bone flutes inventoried for Prehis- Then we carved the holes with a borer, toric Europe, came from burial sites, so- The perforations are 0,6 cm in diameter, metime settlements.They have 2-5 playing and the flute of Veyreau got fives holes, holes, and sometimes a thumb hole. The and a small hole on his lateral side, near anthropic origin of the perforation should the distal extremity, probably used to put be examined and not be the results of any a string. The decoration of the flute is done carnivore bites (D'ERRico et al. 1998). with a very small borer: points on the sur- 33 face all around the perforations and we re- alized the endblown mouth, with tar. The manufacting technique is similar to the end-blown whistles. The reconstruction of the Veyreau's flute took more than 1 h 30 (CLopoRE-Tissor 2009) (Fig.7). Paleolithic flutes like the one of lsturitz (Pyrenees Atlantiques), for example, are more simple and faster to rebuild. Most of them don't have any rectangular ope- ning (window) at the bottom, and the holes could be drilled with a simple borer (BUIS- SON 1990). C) Conch shell horn The conch shells are attested since the Neolithic period to the Iron Age, in Europe (CLopoRE-TissoT 2006; 2009. MONTAGU 1981) (Fig. 8). Most of them have been discovered on settlements or in a funeral context, in Me- diterranean Europe (Italy, France, Germany, Hungary, Greece, Crete, Cyprus, Malta). The shell selected (charonia nodefera, charonia lampax...) came from the medi- terranean sea.
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