Welcome to the Past

This is the website of Music Archaeology Recordings, a website dedicated to sounds from antiquity. It includes links to recordings related to music archaeology, sound archaeology and archaeoacoustics.

Recordings can be listened to as streams via the “Recordings” menu (up and to the right), you can buy some of the recordings online on sites like iTunes and Amazon.

Please leave us feedback on what you like, or suggestions and comments.

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12 Funded PhD Opportunities in Sound, Music or Multimedia Archaeology

The University of Huddersfield is part of a consortium currently advertising 12 funded PhD places for subjects related to Heritage Studies. This will pay tuition fees plus about £14,000 per year in living expenses (stipend). Applicants should have been living in the UK for the last 3 years, and should be UK or EU citizens. Eligibility is complex, and addressed on the application pages. Applicants should have an MA or have a good undergraduate degree along with relevant professional experience. These are competitive opportunities, and the awards will go to the best quality candidates and research applications, across a range of fields.

I am interested in particular in encouraging applications related to sound archaeology and multimedia archaeology. For example you may be interested in the following projects:

Sound/Music Archaeology PhD:

PhD project proposals are invited in the areas of sound archaeology, music archaeology, archaeoacoustics or related fields. This might involve an examination of the acoustics or acoustic ecology of an archaeological site or sites. It could involve study of musical instruments, composition for ancient musical instruments, the study of ancient music or any related subject. Another area of interest is the integration of audio into multimedia modelling of heritage sites. Research can integrate practice-based or practice-led elements as well as theoretical and contextual study. Students may wish to have co-supervision from a member of archaeological staff as well as an expert in sound archaeology. Students may have a background in acoustics, music technology, audio, composition or archaeology, although other fields are not excluded.

Multimedia Archaeology PhD:

PhD project proposals are invited to explore the use of multimedia tools to explore archaeological sites, particularly including exploration and modelling of sound as well as image. This could be a creative arts project, creating multimedia artworks, installations, or interactive environments that explore archaeological or heritage contexts. Models of world heritage sites, including Stonehenge, Palaeolithic decorated caves, and Cyprus’ Paphos theatre, as well as of other significant archaeological sites, are available as a starting point for the project. This may explore development of these models into edutainment/serious games. It may involve exploring the use of such modelling in heritage contexts. It could explore the modelling of specific spaces, or the use of online or interactive environments, including apps. Unreal or Unity game engines can be used. A focus could be specifically on audio elements of such research. Students with backgrounds in game design, programming, multimedia art, archaeology, music technology or related subjects are welcome. Support for multimedia, sound or archaeological elements is available, and a range of supervision support in different departments is available.

There may well be opportunities to be involved in the European Music Archaeology Project, a 5 year EU funded research project (www.emaproject.eu). The University of Huddersfield is a co-organizing partner in this project.

The advert is here:

http://www.heritageconsortium.ac.uk/2015/12/09/2016-ahrc-studentship-competition-up-to-12-phd-studentships-in-heritage-studies/

There is a frequently asked questions (FAQ) page here:

http://www.heritageconsortium.ac.uk/apply/frequently-asked-questions-faqs/

Details of how to apply are here:

http://www.heritageconsortium.ac.uk/apply/

I am happy to help with developing applications, please contact me at r.till@hud.ac.uk. Please mention my name in your application, and let me know if you are applying.

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Fully Funded PhDs in Music Archaeology and Archaeoacoustics at the University of Huddersfield

We are advertising 6 fully funded PhDs in our University (fees + living expenses). Stipend should be at least the RCUK rate (£14,057 – uk pounds – per year) or more, and tuition fees will be paid.

There are a number of possible areas of supervision, but I would be particularly interested to supervise students interested in archaeoacoustics and music archaeology.

All subjects may involve creative work or practice based research. Final submissions could range from a portfolio of original creations to a written thesis, or a combination of the two. There would be the opportunity to be involved in European Music Archaeology Project (http://www.emaproject.eu) activities.

Current activities in this area in our department include recordings of ancient instruments (bone flutes, carnyx, aulos etc.); digital modelling of archaeological environments; and acoustic modelling, analysis and testing of archaeological sites.

Please feel free to email me if you want to discuss details of applications. Please mention my name in your application. Please circulate this and post it to any sites or individuals you think may be interested.

The application deadline is 10 September 2015.

email Rupert Till at R.Till@hud.ac.uk for more information

 

Apply at: http://www.necah.ac.uk/2015/08/07/north-of-england-consortium-for-arts-and-humanities-3-fully-funded-phd-studentships/

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Visual Interactive and Sound Technology in Archaeology

 EMAP logo

VISTA

Visual Interactive and Sound Technology in Archaeology

One Day Symposium

Sir George Buckley Lecture Theatre, CSLG01, University of Huddersfield, Huddersfield, West Yorkshire, UK, HD1 3DH.

Tuesday 16th June 2015, 10am – 5pm

This symposium collects together researchers working in digital modelling and reconstruction, app development, acoustic modelling, interactive design, audio-visual applications, and multimedia, and their relationships to archaeology, heritage science, cultural industries and museums.

European Music Archaeology Project and British Audio-Visual Research Network

Free tickets at http://tinyurl.com/ovcc7db

Cover image VISTA 2

https://www.facebook.com/pages/EMAProject/236176096591669

https://twitter.com/RupertTill/status/598416708655788033

Programme:

The increasing impact of digital survey across Historic England & English Heritage

Paul Bryan, Geospatial Imaging Manager, Historic England; Joe Savage, Interpretation Officer, English Heritage 

This presentation will highlight the increasing impact of digital survey technologies and methodologies across the work of Historic England and English Heritage. Alongside a summary of the technologies employed their variety of application will be highlighted through a number of case studies including the use of laser scan data at Stonehenge, Harmondsworth Barn and West Kennet Long Barrow and current work at Tintagel Castle using drone-acquired imagery and Structure-from-Motion (SfM) photogrammetry. As will be shown such digital survey work has multiple archaeological, conservation and presentational applications including interpretation and analysis, interactive app development and within exhibition displays.

Professional Commercial Archaeological Digital Visualization

Marcus Abbott, York Archaeological Trust

Marcus Abbott presents an insider’s view of the world of professional commercial archaeological modelling. He discusses and illustrates recent work by York Archaeological Trust.

Acoustic and Interactive Modelling in the European Music Archaeology Project

Rupert Till, Casto Vocal, University of Huddersfield

This presentation discusses the Soundgate, a 180 degree projection screen using 4 widescreen HD projectors to create an immersive visitor experience for the EMAP travelling exhibition. Footage will be filmed live at archaeological sites with digital cameras, as well further live film using anamorphic and fisheye lenses and a 4k Red camera to generate a form of digital cinerama. Digital modelling will also be used to generate cinematic reconstructions in the same format. Acoustic modelling, sound archaeology, archaeoacoustics and music archaeology will be used to create a soundtrack focused on reconstructions of ancient musical instruments being played in their original historic acoustic contexts. Digital film with soundtrack, interactive online, PC, tablet and smartphone versions will all be created.

Visualisation and Auralization: exploring digital lived experience in late medieval buildings.

Catriona Cooper
, Archaeological Computing Research Group, University of Southampton

Digital techniques in archaeological computing can offer new routes to approaching human experience. Catriona Cooper presents two case studies that demonstrate alternative and complementary techniques to explore the notion and implementation of a digital “lived experience” of late medieval buildings. A study based at Bodiam Castle uses digital visualisation to explore the lived experience of the private apartments. A second case study presents an assessment of a series of auralizations of Ightham Mote comparing recorded and modelled acoustical parameters with reference to both human responses and numerical parameters, concluding in combining the two approaches.

Intersensorality, Indeterminacy, Experimental Sound Design and Archaeological interpretation

Claire Marshall, Plateau Imprints

A focus on the VR reconstruction of the Ribchester Roman Fort in Lancashire. This will be amongst the first full 4D and multi-sensorial interpretations of a site in the UK, which foregrounds the intersensoriality and indeterminacy of ‘material culture,’ in general, and public heritage interpretation and experience, in particular.

Use of Oculus Rift for VR-Auralisation

Alex Southern, Royal Society Industry Research Fellow, University of York 

This is part of an ongoing project that makes use of Oculus Rift virtual reality technology to deliver immersive, interactive, 3D audio-visual experiences of a theatrical performance venue. Software has been developed to integrate the Oculus Rift (for 3D visualisation) and MAX/MSP (for 3D headphone auralisation) to view recorded performances, and users are able to interactively select their preferred seating location. The user is also able to freely move their head and look around the venue adding to the sense of immersion and resulting in a multi-modal experience.

Lost and Found Sound in the Vale of Pickering: Exploring the sonic properties of a Early Holocene landscape through sound art

Ben Elliott, Department of Archaeology, Jon Hughes, Department of Music, University of York 

The Sonic Horizons of the Mesolithic sought to apply new developments in contemporary landscape-based sound art composition to the palaeoenvironmental and archaeological data available for the landscape around Star Carr. Resulting in a series of ambisonic sound installation events across Yorkshire during the summer of 2013, this project explicitly explored the sonic environment within a context that defies traditional archaeocoustic approaches through its lack of archaeologically definable internal spaces. A landscape approach here was key, and this paper will reflect on the implications that this may hold for future considerations of sound in the deep past.

VIsta logos

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Resident Audio T4 Thunderbolt Soundcard Tested in a Cave Featuring Prehistoric Archaeology

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DSC01661Isturitz3

I recently travelled to Isturitz Cave in Southern France to make a number of recordings: of a singer; a reconstruction of a 30,000 year old Vulture bone pipe (played as a flute); and to carry out acoustic experiments. I used the opportunity to test a Resident Audio T4 Thunderbolt soundcard. I needed to record with  3 condenser microphones and would have no mains electricity, so needed a soundcard that could be bus DSC01757Resident1powered from the computer’s battery. The project needed a soundcard that featured high quality audio from great analogue to digital convertors, and long battery life, as there would be no chance to recharge during the recording session. The Resident Audio seemed the ideal choice, but there was little information about battery life available from this relatively new product.
Continue reading

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Singing in the Hypogeum

Hypogeum of Ħal-Saflieni

MAR had the opportunity to record in the Hypogeum of Ħal-Saflieni, thanks to the generosity Heritage Malta, the only prehistoric underground tomb in the world, and a world heritage site. The Hypogeum has amazing acoustics, as it is carved out of stone, with stone walls, and is sealed underground, all noises reverberating and sustaining hugely. We were luck enough to work with eminent singer Iegor Reznikoff, who many regard as the father of archaeoacoustics. His work on the acoustics of prehistoric painted caves inspired many others to explore archaeology and acoustics. You can hear him singing on the recordings page here.

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Songs of the Caves

This short film was created as a part of the Songs of the Caves research project. This AHRC/EPSRC funded project aimed to explore the sounds of 5 caves that are part of the Cave of Altamira and Palaeolithic Cave Art of Northern Spain World Heritage Site. In the caves of La Garma, El Castillo, Las Chimineas, El Pasiega and Tito Bustillo a team of archaeologists, acousticians, artists and musicians explored the acoustics of the caves and their relationships with the cave art present. The art in the caves is up to 40,000 years old, and the team tested whether there was any evidence that sound played a part in where these visual motifs were placed. In addition various instruments were played and recorded in the caves, to demonstrate the acoustics and see what the caves might sound like with different sound sources. Many of the instruments were reconstructions of archaeological finds, including bone flutes which were made up to 30 or 40,000 years ago. Recordings from this project are available on this website here.

Aaron Watson directed and filmed the film, with a soundtrack by Rupert Till.

Overall the film aims to try to show what it might have felt like to be in the caves in prehistory.

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