Ancient Seashell Resonates After 18,000 Years
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The Janus-Faced Dilemma of Rock Art Heritage
The Janus-faced dilemma of rock art heritage management in Europe: a double dialectic process between conservation and public outreach, transmission and exclusion Mélanie Duval, Christophe Gauchon To cite this version: Mélanie Duval, Christophe Gauchon. The Janus-faced dilemma of rock art heritage management in Europe: a double dialectic process between conservation and public outreach, transmission and exclusion. Conservation and Management of Archaeological Sites, Taylor & Francis, In press, 10.1080/13505033.2020.1860329. hal-03078965 HAL Id: hal-03078965 https://hal.archives-ouvertes.fr/hal-03078965 Submitted on 21 Feb 2021 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Duval Mélanie, Gauchon Christophe, 2021. The Janus-faced dilemma of rock art heritage management in Europe: a double dialectic process between conservation and public outreach, transmission and exclusion, Conservation and Management of Archaeological Sites, doi.org/10.1080/13505033.2020.1860329 Authors: Mélanie Duval and Christophe Gauchon Mélanie Duval: *Université Grenoble Alpes (UGA), Université Savoie Mont Blanc (USMB), CNRS, Environnements, Dynamics and Territories of Mountains (EDYTEM), Chambéry, France; * Rock Art Research Institute GAES, University of Witwatersrand, Johannesburg, South Africa. Christophe Gauchon: *Université Grenoble Alpes (UGA), Université Savoie Mont Blanc (USMB), CNRS, Environnements, Dynamics and Territories of Mountains (EDYTEM), Chambéry, France. -
Explanatory Index of Proper Names Other Than Authors Cited
Quest: An African Journal of Philosophy / Revue Africaine de Philosophie , 24 (2010), 1-2D 1-398 E:planatory inde: of proper names other than authors cited 0xhaustive listing of all proper names other than those of authors cited. 6or names mar2ed with UU also see Inde7 of Authors Cited . Some entries have underlying con- cepts explained under V.v. ( Vuod videre , Esee there=)8 for many other entries this index sei:es the opportunity of explaining details that could not be accommodated in the main text. 1hen a boo2 title is listed, it appears in italic , followed by the author=s name (if any) between parentheses. Inly capitalised text has been processed 9 thus e.g. ECatalyst= is listed but not the many occurrences of Ecatalyst=, Ecatalytic=, etc. Due to last-minute text additions a few page references may be off by 1. identity, 53 227n, 291n8 ,ssyrian ,baris, ,ncient Gree2 Achsenzeit , see ,xial ,ge traces in 9 , 1298 ,rab shaman, 112, 114, 114n ,cragas, 1098 cf. ,grigen- influence on sub- ,b2ha:oids, linguistico- tum Saharan 9, 758 9 and ethnic cluster in the ,dam, Biblical figure, 135 ,ncient Near 0ast, 73, ,ncient 3editerranean, ,donai, .ord, 1608 cf. 1298 9 and North ,mer- 233 ,idoneus ica, 9, 118, 265, 2748 9 ,boriginal ,ustralian, 91, ,egean, Sea and region, and 0urope, 808 and 0ast 1928 cf. Dur2heimUU 115, 141, 151, 175, 294, ,sia, 9 and ,sia, 35, 90, ,braham, Biblical figure, 273n8 9 -,natolian, 226 275, 280, 186n8 1est 162 ,ether, 103-104, 117-118, ,frica, 74, 268, 2818 ,bri du 6acteur, 5pper 130, 137-139, 152, 180- Central ,frica, espe- Palaeolithic site, 189 181, 154n, 165n, 184n8 cially South 9 , 5, 8, 17- ,byss, ,bysmal, 122, ,ether and Day, chil- 18, 31, 43, 62, 64, 70, 164, 236, 101n8 cf. -
Shell Trumpets in Mesoamerica Music-Archaelogical Evidence and Living Tradition Arnd Adje Both
Shell Trumpets in Mesoamerica Music-Archaelogical Evidence and Living Tradition Arnd Adje Both ZUSAMMENFASSUNG ceps) exhibited in the Museo Nacional de Antropología, Mexico City (Fig. 1)2. The decora- Musikarchäologische Daten belegen, daß Schnek- tion depicts a headdress consisting of a zigzag kentrompeten in vorspanischen Kulturen eine band in yellow and red with green feathers, and a große zeremonielle Bedeutung zukam. In diesem double glyph at the body whorl consisting of two Beitrag wird eine vielschichtige Musiktradition tassel headdresses with the numerical coefficients verfolgt, die trotz der abwechslungsreichen Ge- “9” and “12” indicated by bars and dots. The sym- schichte Mesoamerikas vergleichbare Elemente bolic meaning of the double glyph is still unclear3. aufweist. In Zeremonien verschiedener mexikani- One trumpet of 36 cm in length dating from A.D. scher Ethnien werden die Instrumente bis heute 500 was excavated near an altar of Tetitla, one of verwendet. Ihr Gebrauch läßt Merkmale erken- the many residential compounds of Teotihuacan. nen, die sich möglicherweise als fortlebende Rest- Several finds show that shell trumpets were also bestände alter, bereits in den frühen Kulturen deposited in ceremonial burials, possibly as a per- Mesoamerikas entstandener Musikpraktiken er- sonal item. One specimen made of a Florida Horse weisen. conch (Pleuroploca gigantea) without decoration was recently excavated in Burial 5 within the Pyra- mid of the Moon, dating from A.D. 350 (Fig. 3). 1. MUSIC-ARCHAEOLOGI- The trumpet was unearthed next to a flaked obsidi- CAL EVIDENCE an figure and pointed towards the west, where the sun is going down into the underworld. Several Shell trumpets were already known in the end of objects of greenstone (jadeite) carved in Maya style the Early Preclassic period of Mesoamerica (2000 indicate some form of contact between the ruling to 1200 B.C.), as demonstrated by sound artefacts group of Teotihuacan and Maya royal families. -
Trumpets and Horns
TRUMPETS AND HORNS NATURAL TRUMPETS SHOFAR The shofar is an ancient Jewish liturgical instrument. It is a natural trumpet without a mouthpiece and produces only two tones, the second and third harmonics. The Talmud has laid down precise instructions for its maintenance and use, as well as materials and methods of construction. The shofar is usually made from ram's horn, although the horn of any animal of the sheep or goat family may be used. The horn is softened by heat and straightened. Subsequently, it is re-bent in one of several shapes (Plate 58). A blow-hole is bored into the pointed end of the horn. In the Northern European variety of shofar, the blow-hole usually has no distinct shape. In the Israeli and Southern European type, the mouthpiece is formed into a miniature trum- pet mouthpiece. CATALOGUE # 85 SHOFAR (73-840) MIDDLE EAST Plate 58, Fig. 97. COLLECTED: Toronto, Ontario, 1973 CATALOGUE It 86 SHOFAR (73-847) MIDDLE EAST Plate 58, Fig. 98. COLLECTED: Toronto, Ontario, 1973 CATALOGUE It 87 SHOFAR (74-68) USSR A family treasure, this shofar (Plate 58, Fig. 99) was brought to Canada ca. 1900 from Minsk, Russia by Vladislaw Schwartz. Mr. Schwartz donated it to the Minsken Synagogue, Toronto upon his assumption of the presidency in 1932. COLLECTED: Toronto, Ontario, 1973 Plate 58 Shofars 1. Catalogue 087 085 2. Catalogue 3. Catalogue 086 b1-3/44 ________ 0 Scm a t 6.5 L L__— 5.5 - -- -- -—____________________ /t---- N ---A / N re 97 75.0 / .8 0 5cm Figure 96 6L Natural trumpets 125 HORA The hora is the end-blown shell trumpet of Japan. -
Exploring the Concept of Home at Hunter-Gatherer Sites in Upper Paleolithic Europe and Epipaleolithic Southwest Asia
UC Berkeley UC Berkeley Previously Published Works Title Homes for hunters?: Exploring the concept of home at hunter-gatherer sites in upper paleolithic Europe and epipaleolithic Southwest Asia Permalink https://escholarship.org/uc/item/9nt6f73n Journal Current Anthropology, 60(1) ISSN 0011-3204 Authors Maher, LA Conkey, M Publication Date 2019-02-01 DOI 10.1086/701523 Peer reviewed eScholarship.org Powered by the California Digital Library University of California Current Anthropology Volume 60, Number 1, February 2019 91 Homes for Hunters? Exploring the Concept of Home at Hunter-Gatherer Sites in Upper Paleolithic Europe and Epipaleolithic Southwest Asia by Lisa A. Maher and Margaret Conkey In both Southwest Asia and Europe, only a handful of known Upper Paleolithic and Epipaleolithic sites attest to aggregation or gatherings of hunter-gatherer groups, sometimes including evidence of hut structures and highly structured use of space. Interpretation of these structures ranges greatly, from mere ephemeral shelters to places “built” into a landscape with meanings beyond refuge from the elements. One might argue that this ambiguity stems from a largely functional interpretation of shelters that is embodied in the very terminology we use to describe them in comparison to the homes of later farming communities: mobile hunter-gatherers build and occupy huts that can form campsites, whereas sedentary farmers occupy houses or homes that form communities. Here we examine some of the evidence for Upper Paleolithic and Epipaleolithic structures in Europe and Southwest Asia, offering insights into their complex “functions” and examining perceptions of space among hunter-gatherer communities. We do this through examination of two contemporary, yet geographically and culturally distinct, examples: Upper Paleolithic (especially Magdalenian) evidence in Western Europe and the Epipaleolithic record (especially Early and Middle phases) in Southwest Asia. -
Mystery Instrument Trivia!
Mystery Instrument Trivia! ACTIVITY SUMMARY In this activity, students will use online sources to research a variety of unusual wind- blown instruments, matching the instrument name with the clues provided. Students will then select one of the instruments for a deeper dive into the instrument’s origins and usage, and will create a multimedia presentation to share with the class. STUDENTS WILL BE ABLE TO identify commonalities and differences in music instruments from various cultures. (CA VAPA Music 3.0 Cultural Context) gather information from sources to answer questions. (CA CCSS W 8) describe objects with relevant detail. (CACCSS SL 4) Meet Our Instruments: HORN Video Demonstration STEPS: 1. Review the HORN video demonstration by San Francisco Symphony Assistant Principal Horn Bruce Roberts: Meet Our Instruments: HORN Video Demonstration. Pay special attention to the section where he talks about buzzing the lips to create sound, and how tightening and loosening the buzzing lips create different sounds as the air passes through the instrument’s tubing. 2. Tell the students: There many instruments that create sound the very same way—but without the valves to press. These instruments use ONLY the lips to play different notes! Mystery Instrument Trivia! 3. Students will explore some unusual and distinctive instruments that make sound using only the buzzing lips and lip pressure—no valves. Students should use online searches to match the trivia clues with the instrument names! Mystery Instrument Trivia - CLUES: This instrument was used in many places around the world to announce that the mail had arrived. Even today, a picture of this instrument is the official logo of the national mail delivery service in many countries. -
Recycled Percussion Resource Guide
teacher resource guide schooltime performance series recycled percussion about the performance Get ready for a musical experience that will have you clapping your hands and stomping your feet as you marvel at what can be done musically with some pretty humble materials. Recycled Percussion is a band that for more than 20 years has been making rock-n-roll music basically out of a pile of junk. Its high energy performances are a dynamic mix of rock drumming, guitar smashing and DJ-spinning, all blended into the recyclable magic of what the band calls “junk music.” Recycled Percussion’s immersive show expands the boundaries of modern percussion, combining the visual spectacle of marching band-style beats with the rhythmic musical complexity of the stationary drum set. Then they give their music a truly wacky twist by using everyday objects like power tools, ladders, buckets and trash cans, and turning them into rock instruments. Recycled Percussion is more than just performance. It’s an interactive experience where each audience member has the chance to get in on the act. If you’ve even clapped your hands to the beat of a song, or picked up a pencil and tapped out a rhythm on your desk, then you’ll know what to do. Grab the drumstick or unique instrument you’ll be handed when you come to the show and be ready to play your own special beat with Recycled Percussion. 2 recycled percussion njpac.org/education 3 about recycled in the A conversation with percussion spotlight band members from Recycled Percussion Recycled Percussion began in 1995 when drummer What exactly is “junk rock”? What are its origins? What was it like to be on America’s Got Talent? Justin Spencer formed the band to perform in his Did you or someone else come up with the name? America’s Got Talent was a really cool experience for us high school talent show in Goffstown, New Hampshire. -
The Musical Eclecticism of Ch' Angguk
National Music and National Drama: The Musical Eclecticism of Ch' angguk Andrew Killick Florida State University A lone p' ansori singer, delivering a sorrowful passage in front of a folding screen, is interrupted by loud blasts on the straight trumpet (nabal) and conch shell (nagak) from the back of the auditorium. A colorful parade files down the aisle playing the raucous royal processional music Taec/z'wit'a. On reaching the stage, the music changes to the banquet version of the same rhythmic material, Ch'wit'a, and the procession enters an elaborate set representing the yamen of the Governor of Namw6n. The new Governor, Pyan Hakto, takes the seat of honor, his white-robed officials stand in attendance, and a group of female entertainers (kisaeng) lines up to solicit his favors. Such a mixture of theatrical presentation, p' ansori singing, and other varieties of Korean music, is to be seen only in the opera form ch'anggflk. This was a scene from a ch'mzggrik production of The Story of Ch'zmlzyang in the main hall of the National Center for Korean Traditional Performing Arts in Seoul, performed by a visiting troupe from the National Center for Korean Folk Performing Arts in Namw6n, on May 29, 2000. The Korean names of both institutions, Kungnip Kugagwon and Kungnip Minsok Kugagw'in, include the words kungnip or "national" and kllgak or "national music"; and cJz'anggrlk itself was once known as kllkkLlk or "national drama," a usage that is still retained by all-female y6s6ng kllkkrik troupes and by a mixed provincial troupe, the Kwangju Sirip Kukk?ktan. -
Coexistence of Classical Music and Gugak in Korean Culture1
International Journal of Korean Humanities and Social Sciences Vol. 5/2019 DOI: http://dx.doi.org/10.14746/kr.2019.05.05 COEXISTENCE OF CLASSICAL MUSIC AND GUGAK IN KOREAN CULTURE1 SO HYUN PARK, M.A. Conservatory Orchestra Instructor, Korean Bible University (한국성서대학교) Nowon-gu, Seoul, South Korea [email protected] ORCID: https://orcid.org/0000-0002-7848-2674 Abstract: Classical music and Korean traditional music ‘Gugak’ in Korean culture try various ways such as creating new music and culture through mutual interchange and fusion for coexistence. The purpose of this study is to investigate the present status of Classical music in Korea that has not been 200 years old during the flowering period and the Japanese colonial period, and the classification of Korean traditional music and musical instruments, and to examine the preservation and succession of traditional Gugak, new 1 This study is based on the presentation of the 6th international Conference on Korean Humanities and Social Sciences, which is a separate session of The 1st Asian Congress, co-organized by Adam Mickiewicz University in Poznan, Poland and King Sejong Institute from July 13th to 15th in 2018. So Hyun PARK: Coexistence of Classical Music and Gugak… Korean traditional music and fusion Korean traditional music. Finally, it is exemplified that Gugak and Classical music can converge and coexist in various collaborations based on the institutional help of the nation. In conclusion, Classical music and Korean traditional music try to create synergy between them in Korean culture by making various efforts such as new attempts and conservation. Key words: Korean Traditional Music; Gugak; Classical Music; Culture Coexistence. -
Poemes Electroniques John Kenny: Carnyx, Alto, Tenor & Bass Trombones, Alphorn, Conch, Messo American Gourd Trumpets
John Kenny/Chris Wheeler Poemes Electroniques John Kenny: Carnyx, alto, tenor & bass trombones, alphorn, conch, Messo American gourd trumpets. Chris Wheeler: sound projection, turntabling. From 1980 to 2004, John Kenny performed internationally as a duo with the legendary sound designer John Whiting (of Electric Phoenix fame). In March 2004, after a final tour together throughout Ireland, with the Vanbrough String Quartet, John Whiting retired - at the age of 73. Over the previous three years, Christopher Wheeler had frequently gone out on the road as assistant to John Whiting, and acted as recording producer for John Kenny. From April 2004, Kenny invited Chris Wheeler to join him as a duo, not only to preserve the repertoire established over so many years, but more importantly to develop an entirely new repertoire. Wheeler is not only a superb sound projectionist - he is also a fine trombonist and composer, and is rapidly becoming recognised as one of the UK's most exciting and adventurous DJs. Kenny and Wheeler made their debut as a duo in July 2004 at the Arctic Trombone Festival in Tromso, Norway, giving the world premier of Ankh by Morris Pert, followed by a Deveron Arts residency in the ancient north eastern Scottish town of Huntly, where they created the electroacoustic tone poem Doric using environmental sounds of the natural and human landscapes of the region where the carnyx was originally made and used. Kenny and Wheeler have since performed at the Edinburgh Dialogues, and Belfast Sonorities festivals, the Dartington International Summer School, and St. Magnus Festival, and the Sage, Gateshead. -
Canadian Brass
SCHOOL DAY PERFORMANCES FOR PUBLIC, PRIVATE, AND HOME SCHOOLS, GRADES PreK-12 Canadian Brass IMPACT BRASS CLASS ON THE This season we invite school communities to explore the Did you know that the didgeridoo, the shofar, the vuvuzela, and the performing arts through a selection of topics that reveal the conch are all brass instruments? The didgeridoo, an instrument created IMPACT of the Arts for Youth. by Aboriginal Australians, is typically made from a hard wood like eucalyptus or even from thick bamboo. Literally a horn from a ram, the shofar is the ancient instrument of Jewish tradition. The South African MAP Introduction to the arts vuvuzela can be crafted from plastic or aluminum and a conch is the CANADIAN BRASS ORIGINATED IN Meaning and cultural context shell from a sea snail or a mollusk. But the saxophone is made of brass TORONTO, ONTARIO, CANADA. and it’s a woodwind instrument. And some flutes are formed from CURRENT MEMBERS LIVE IN CITIES brass too. So, what’s a brass instrument anyway? Production ALL ACROSS NORTH AMERICA. Art-making and creativity Your task: investigate what makes an instrument suitable for the ABOUT THE ARTISTS brass classification, then choose a brass instrument to research in more Careers detail. You could choose one of the four instruments played by the With their “unbeatable blend of Canadian Brass or choose a less typical member of the brass family. TORONTO, ONTARIO, virtuosity, spontaneity, and humor,” Training Part of your research can take place during the Canadian Brass concert CANADA as you listen and learn from the musicians. -
The Foundation of Myth: a Unified Theory of the Link Between Seasonal/Celestial Cycles, the Precession, Theology, and the Alphabet/Zodiac
SINO-PLATONIC PAPERS Number 263 December, 2016 The Foundation of Myth: A Unified Theory of the Link Between Seasonal/Celestial Cycles, the Precession, Theology, and the Alphabet/Zodiac Part II by Brian R. Pellar Victor H. Mair, Editor Sino-Platonic Papers Department of East Asian Languages and Civilizations University of Pennsylvania Philadelphia, PA 19104-6305 USA [email protected] www.sino-platonic.org SINO-PLATONIC PAPERS FOUNDED 1986 Editor-in-Chief VICTOR H. MAIR Associate Editors PAULA ROBERTS MARK SWOFFORD ISSN 2157-9679 (print) 2157-9687 (online) SINO-PLATONIC PAPERS is an occasional series dedicated to making available to specialists and the interested public the results of research that, because of its unconventional or controversial nature, might otherwise go unpublished. The editor-in-chief actively encourages younger, not yet well established, scholars and independent authors to submit manuscripts for consideration. Contributions in any of the major scholarly languages of the world, including romanized modern standard Mandarin (MSM) and Japanese, are acceptable. In special circumstances, papers written in one of the Sinitic topolects (fangyan) may be considered for publication. Although the chief focus of Sino-Platonic Papers is on the intercultural relations of China with other peoples, challenging and creative studies on a wide variety of philological subjects will be entertained. This series is not the place for safe, sober, and stodgy presentations. Sino- Platonic Papers prefers lively work that, while taking reasonable risks to advance the field, capitalizes on brilliant new insights into the development of civilization. Submissions are regularly sent out to be refereed, and extensive editorial suggestions for revision may be offered.