Research Cluster for the Investigation of Acoustic and Musical Elements of Prehistoric Archaeological Sites in Britain

英国史前考古遗址声学和音乐元素调查研究集群

• 批准号: AH/G015236/1
• 负责人: Rupert Till
• 金额: $ 3.12万
• 依托单位: University of Huddersfield
• 依托单位国家: 英国
• 项目类别: Research Grant
• 财政年份: 2009
• 资助国家: 英国
• 起止时间: 2009 至 无数据
• 项目状态: 已结题
• 来源: https://gtr.ukri.org/projects?ref=AH%2FG015236%2F1
• 关键词: Research; Cluster; Investigation; Acoustic; Musical

What remains of ancient monuments are architectural fragments which, as John Barrett says, can 'allow us to think through the orientation of the practices which both created that architecture and which were staged within it.' Acoustic analysis is a sonically based architectural analysis that can reveal detail about these practices. Because 'time is collapsed for the archaeological observer', even a partial or fractured understanding of the use of music, acoustics and sound in a space can act to animate the information we have from these architectural fragments. Sound brings the world to life, it can appear to fill spaces, create atmospheres, and have an intense emotive power. It exists in the time domain and can add a third dimension to an otherwise flattened interpretation. Whilst architecture demarcates space, sound demarcates time.An archaeological study of a physical space is lifeless without an accompanying understanding of the narratives that developed within it. Understanding what Giddens might call time-geographies of space, developing narratives and rites of passage, is important so that we can understand how the users of a space felt about it. In prehistory sound was a primary focus for accumulating knowledge, culture and information, as transmission largely happened using language (the acoustic), rather than writing (the visual). As Marshall Mcluhan has said, 'Among peoples at an 'oral-aural' level of culture to whom writing was unknown, the ear exercised an overwhelming tyranny over the eye.' We can therefore expect to find as much out about the reasons for the layout of a site by investigating its acoustics as by investigating its visual and physical layout, especially in a site that does not seem to be designed for strictly functional purposes such as accommodation or defence. James Gibson has told us that sound gives 'information about the temporal structure of the event that caused it and the vibratory frequency of this event . . . with great precision'. The acoustic environment, as a key focus in prehistory of communication and development within an oral and aural culture, merits as much investigation as the context of the use of bone, stone, metal, wood or ceramics. As it exists in the time domain acoustics can give us invaluable information about so-called non-material or intangible elements of culture such as music, ritual and religion. 'When it comes to affairs of the soul, of emotion and feeling, or of the 'inwardness' of life, hearing surpasses seeing as understanding goes beyond knowledge, and as faith transcends reason. . . Vision in this conception, defines the self individually in opposition to others; hearing defines the self socially in relation to others.' (Ingold). Both Gibson and Ingold discuss how vision and hearing are not so much disparate as interchangeable, are an active single task of perception, as looking and listening. If we accept 'looking and listening' is together a fused irreducible act of perception then any archaeological analysis of architecture must include analysis of sound. 'Vision, since it is untrained by the subjective experience of light, yields knowledge of the outside world that is rational, detached, analytical and atomistic. Hearing, on the other hand, since it rests on the immediate experience of sound, is said to draw the world into the perceiver, yielding a kind of knowledge that is intuitive, engaged, synthetic and holistic.'A series of study days will create an interdisciplinary reasearch cluster that will explore the sonic architecture of prehistory. It will involve specialists including those from the fields of archaeology, acoustics, music technology, acoustic modelling, digital modelling, CAVE and RAVE multimedia visual environments, ethnomusicology, archaeoacoustics, music archaeology and anthropology. It will aim to develop research teams and proposals that will develop focused research projects based on particular sites.

古代纪念碑的遗迹是建筑碎片，正如约翰·巴雷特所说，它可以让我们思考创造建筑和在其中上演的实践的方向。声学分析是一种基于声音的建筑分析，可以揭示这些做法的细节。因为“时间对于考古观察者来说是崩溃的”，即使是对音乐、声学和声音在空间中的使用的部分或支离破碎的理解，也可以使我们从这些建筑碎片中获得的信息变得生动起来。声音使世界变得栩栩如生，它似乎可以填补空间，创造氛围，并具有强烈的情感力量。它存在于时间域中，可以为原本扁平化的解释增加第三个维度。建筑是空间的分界线，声音是时间的分界线。考古学对一个物理空间的研究，如果没有对其中发展的叙事的伴随理解，是没有生命的。理解吉登斯可能所说的时间--空间地理，发展叙事和通过仪式，是很重要的，这样我们才能理解空间的使用者对它的感受。在史前，声音是积累知识、文化和信息的主要焦点，因为传播主要是通过语言(声学)而不是文字(视觉)进行的。正如马歇尔·麦克卢汉所说，“在文化水平为‘口语-听觉’的人群中，他们对书写一无所知，耳朵对眼睛施加了压倒性的专制。”因此，我们可以期望通过调查网站的声学和视觉和物理布局来了解网站布局的原因，特别是在一个似乎不是为住宿或防御等严格功能目的而设计的网站。詹姆士·吉布森告诉我们，声音给出了“关于引起它的事件的时间结构和这一事件的振动频率的信息……非常精确”。声学环境作为口头和听觉文化交流和发展史前的一个关键焦点，与骨、石头、金属、木材或陶瓷的使用背景一样值得研究。由于它存在于时间域中，声学可以为我们提供有关音乐、仪式和宗教等所谓的非物质或无形文化元素的宝贵信息。当谈到灵魂的事情，情感和感觉，或生命的‘内在’时，听觉胜过视觉，就像理解超越知识，信仰超越理性。。。在这个概念中，视觉定义了独立的自我，与他人对立；听觉定义了社会上的自我与他人的关系。(银色)。吉布森和英戈尔德都讨论了视觉和听觉如何与其说是完全不同的，不如说是可以互换的，它们是一项活跃的单一感知任务，就像看和听一样。如果我们接受“看和听”是一种融合的、不可还原的感知行为，那么任何对建筑的考古分析都必须包括对声音的分析。“视觉，因为它不受光的主观经验的训练，产生了关于外部世界的理性、超然、分析和原子论的知识。”另一方面，由于听觉建立在对声音的直接体验之上，所以据说它能将世界吸引到接受者的手中，产生一种直观的、投入的、综合的和整体的知识。一系列的学习日将创建一个跨学科的研究集群，探索史前的声音架构。将有来自考古学、声学、音乐技术、声学模型、数字模型、洞穴和狂欢多媒体视觉环境、民族音乐学、考古声学、音乐考古学和人类学等领域的专家参加。它的目标是发展研究团队和提案，以特定地点为基础开发有重点的研究项目。