Acoustics and Music of British Prehistory Research Network

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There are many more references at the online bibliography of the International Study Group for Music Archaeology (ISGMA). Please click HERE to go to the ISGMA site.

Aiano, L., 2006. Resonators and receptacles: a summary of an acoustic enquiry into Late Neolithic pottery goblet drums from Europe. Excapades 1, 96-105.

Akutec, ‘Concert Hall Acoustics: Parameters’, Akutek.info: The WWW Center for Search, Research and Free Sharing in Acoustics, October 2008, http://www.akutek.info/concert_hall_acoustics.htm, [April 2009].

Bahn, P.G., & J. Vertut, 1997. Journey through the Ice Age. London: Weidenfeld & Nicolson.

Banfield, S., 2010. The Sounds of Stonehenge. Oxford: Archaeopress.

Barrett, J., Fragments From Antiquity: An Archaeology of Social Life in Britian, 2900 – 1200 BC, (Oxford, 1994).

Blesser, B. & L.-R. Salter, 2007. Spaces Speak, Are You Listening? Experiencing aural architecture. Cambridge, MA: MIT Press.

Boivin, N., 2004. Rock art and rock music: petroglyphs of the South Indian Neolithic. Antiquity 78, 38-53.

Boivin, N., A. Brumm, H. Lewis, D. Robinson & R. Korisettar, 2007. Sensual, material, and technological understanding: exploring prehistoric soundscapes in south India. Journal of the Royal Anthropological Institute 13, 267-94.

Bowersock, G. W., 1984. The miracle of Memnon. Bulletin of the American Society of Papyrologists 21, 21-32.

Bradley, R., 2002. The land, the  sky and the Scottish stone circle, in Monuments and Landscape in Atlantic Europe, ed. C. Scarre. London: Routledge, 122-38.

Bradley, R., 2005. The Moon and the Bonfire. An investigation of three stone circles in north-east Scotland. Edinburgh: Society of Antiquaries of Scotland.

Callander, J. G. & W. G. Grant, 1934. A long stalled chambered cairn or mausoleum (Rousay type) near Midhowe, Rousay, Orkney. Proceedings of the Society of Antiquaries of Scotland 68, 320-50.

Challands, A., T. Muir & C. Richards, 2005. The great passage grave of Maeshowe, in Dwelling among the monuments:  an examination of the Neolithic village of Barnhouse, Maeshowe passage grave and surrounding monuments at Stenness, Orkney, ed. C. Richards. Cambridge: McDonald Institute for Archaeological Research, 229-48.

Chippindale, C., 2004. Stonehenge Complete. London: Thames & Hudson.

Christensen, C., L., Odeon Room Acoustic Program User Manual, (Lyngby, Denmark, 2008).

Classen, C., 1993. Worlds of Sense. Exploring the senses in history and across cultures. London: Routledge.

Cook, I. A., S. K. Pajot & A. F. Leuchter, 2008. Ancient architectural acoustic resonance patterns and regional brain activity. Time and Mind 1, 95-104.

d’Errico, F. & G. Lawson, 2006. The sound paradox: how to assess the acoustic significance of archaeological evidence?, in Archaeoacoustics, eds. C. Scarre & G. Lawson. Cambridge: McDonald Institute for Archaeological Research, 41-57.

Dams, L., 1985. Palaeolithic lithophones: descriptions and comparisons. Oxford Journal of Archaeology 4, 31-46.

Devereux, P., Stone Age Soundtracks: The Acoustic Archaeology of Ancient Sites (London, 2001).

Devereux, P., 2006. Ears & years: aspects of acoustics and intentionality in antiquity, in Archaeoacoustics, eds. C. Scarre & G. Lawson. Cambridge: McDonald Institute for Archaeological Research, 23-30.

Devereux, P. & R. G. Jahn, 1996. Preliminary investigations and cognitive considerations of the acoustical resonances of selected archaeological sites. Antiquity 70, 665-6.

Devereux, P. and Wozencroft, J., ‘A Stone Age Holy Land?’, The Landscape and Perception Project, http://www.landscape-perception.com, [March 2009].

Fischer, U., 1951. Zu den mitteldeutschen Trommeln. Archaeologia Geographica 2, 98-105.

Freeman, W., ‘A Neurobiological Role of Music in Social Bonding’, in Wallin, N. L., Merker, B. and Brown , S. (eds), The Origins of Music, (Cambridge, 2000).

Gibson, J. J., The Senses Considered as Perceptual Systems (London, 1966).

Giddens, A., Modernity and Self-Identity: Self and Society in the Late Modern Age, (Cambridge, 1991).

Howes, D., 2003. Sensual Relations. Engaging the senses in culture and social theory. Ann Arbor: University of Michigan Press.

Ingold, T., 2000. The Perception of the Environment. Essays in livelihood, dwelling and skill. London: Routledge.

Ingold, T., ‘Stop, Look and Listen! Vision, Hearing and Human Movement’, Perception of the Environment: Essays on Livelihood, Dwelling and Skill (London, 2000).

Kuttruff, H., Room Acoustics, (Taylor and Francis, London, 2000).

Larsen, N. W., Olmos, E. and Gade, A. C., Acoustics in Halls for Rock Music, Joint Baltic-Nordic Acoustics Meeting 2004, 8-10 June 2004, Mariehamn, Åland, http://www.acoustics.hut.fi/asf/bnam04/webprosari/papers/o18.pdf [April 2009], p.4.

Lewis-Williams, D. & D. Pearce, 2005. Inside the Neolithic Mind. Consciousness, cosmos and the realm of the gods. London: Thames & Hudson.

McLuhan, M., The Gutenberg Galaxy, The Making of Typograhic Man (Toronto, 1962).

Mithen, S., 2005. The Singing Neanderthals: the origins of music, language, mind and body. London: Weidenfeld & Nicolson.

Morley, I., 2002. Evolution of the physiological and neurological capacities for music. Cambridge Archaeological Journal 12, 195-216.

Morley, I., 2006a. Hunter-gatherer music and its implications for identifying intentionality in the use of acoustic space, in Archaeoacoustics, eds. C. Scarre & G. Lawson. Cambridge: McDonald Institute for Archaeological Research, 95-105.

Morley, I., 2006b. Mousterian musicianship? The case of the Divje babe I bone. Oxford Journal of Archaeology 25, 317-33.

Nettl, B., ‘An Ethnomusicologist Contemplates Musical Universals’, in Wallin, N. L., Merker, B. and Brown , S. (eds), The Origins of Music, (Cambridge, 2000).

O’Kelly, M. J., 1982. Newgrange. Archaeology, art and legend. London: Thames & Hudson.

Parker Pearson, M., 2000. Ancestors, bones and stones in Neolithic and Early Bronze Age Britain and Ireland, in Neolithic Orkney in its European Context, ed. A. Ritchie. Cambridge: McDonald Institute for Archaeological Research, 203-14.

Parker Pearson, M., A. Chamberlain, M. Jay, P. Marshall, J. Pollard, C. Richards, J. Thomas, C. Tilley & K. Welham, 2009. Who was buried at Stonehenge? Antiquity 83, 23-39.

Parker Pearson, M., J. Pollard, C. Richards, J. Thomas, C. Tilley, K. Welham & U. Albarella, 2006. Materializing Stonehenge. The Stonehenge Riverside Project and new discoveries. Journal of Material Culture 11, 227-61.

Parker Pearson, M. & Ramilisonina, 1998. Stonehenge for the ancestors: the stones pass on the message. Antiquity 72, 308-26.

Renfrew, C., 1979. Investigations in Orkney. London: Society of Antiquaries.

Reznikoff, I., 2006. The evidence of the use of sound resonance from Palaeolithic to Medieval times, in Archaeoacoustics, eds. C. Scarre & G. Lawson. Cambridge: McDonald Institute for Archaeological Research, 77-84.

Reznikoff, I. and Dauvois, M., ‘La dimension sonore des grottes ornees’, Bulletin de la Soc. Prehist. Francaise, vol. 85., no. 8 (1988), pp. 238-46.

Richards, C., 1988. Altered images: a re-examination of Neolithic mortuary practices in Orkney, in The Archaeology of Context in the Neolithic and Bronze Age: recent trends, eds. J. C. Barrett & I. Kinnes. Sheffield: Department of Archaeology and Prehistory, 42-55.

Rumsey, F., ‘Subjective Assessment of the Spatial Attributes of Reproduced Sound’, Proceedings of the AES 15th International Conference: Audio, Acoustics and Small Space, Copenhagen, Denmark, Oct 1998, pp 122–135.

Saville, A., 1990. Hazleton North. The excavation of a Neolithic long cairn of the Cotswold-Severn group. London: English Heritage.

Scarre, C., 1989. Painting by resonance. Nature 338, 382.

Scarre, C. and Lawson G. (Eds), Archaeoacoustics (Cambridge, 2007).

Skålevik, M., ‘Room Acoustic Parameters and their Distribution over Concert Hall Seats’, Papers: Akutek.info: The WWW Center for Search, Research and Free Sharing in Acoustics, October 2008,   http://www.akutek.info/Papers/MS_Parameters_Distribution.pdf, (1^st April 2009).

Soulodre, G. A., Lavoie, M.C. and Norcorss, S.G., ‘Temporal Aspects of Listener Envelopment in Multichannel Surround Systems’, AES Convention Paper 5803, 114^th Convention, The Netherlands, Amsterdam, March 22-25, (2003).

Stuart, J., 1864. Notice of excavations in the chambered mound of Maeshowe, in Orkney, and of the runic inscriptions on the walls of its central chamber. Proceedings of the Society of Antiquaries of Scotland 5, 247-79.

Tilley, C., C. Richards, W. Bennett & D. Field, 2007. Stonehenge  –  its landscape and architecture: a reanalysis, in From Stonehenge to the Baltic. Living with cultural diversity in the third millennium BC, eds. M. Larsson & M. Parker Pearson. Oxford: Archaeopress, 183-204.

Turner, V., The Ritual Process: Structure and Anti-Structure (London, 1969).

Von Fischer, S, ‘Scenic and Sonic Structure’, December 2002, http://e-collection.ethbib.ethz.ch/eserv/eth:26421/eth-26421-01.pdf [April 2009].

Waller, S. J., 1993. Sound and rock art. Nature 363, 501.

Waller, S. J., 2006. Intentionality of rock-art placement deduced from acoustical measurements and echo myths, in Archaeoacoustics, eds. C. Scarre & G. Lawson. Cambridge: McDonald Institute for Archaeological Research, 31-9.

Wallin, N., B. Merker & S. Brown (eds.), 2000. The Origins of Music, Cambridge, MA: MIT Press.

Watson, A. & D. Keating, 1999. Architecture and sound: an acoustic analysis of megalithic monuments in prehistoric Britain. Antiquity 73, 325-36.

Watson, A. & D. Keating, 2000. The architecture of sound in Neolithic Orkney, in Neolithic Orkney in its European Context, ed. A. Ritchie. Cambridge: McDonald Institute for Archaeological Research, 259-63.

Watson, A., 2001. The sounds of transformation: acoustics, monuments and ritual in the British Neolithic, in The Archaeology of Shamanism, ed. N. Price. London: Routledge, 178-192.

Watson, A., 2001. Composing Avebury. World Archaeology 33(2), 296-314.

Watson, A., 2004. Making space for monuments: notes on the representation of experience, in Substance, memory, display: archaeology and art, eds. C. Renfrew, C. Gosden & E. DeMarrais. Cambridge: McDonald Institute for Archaeological Research, 79-96.

Watson, A., 2006. (Un)intentional sound? Acoustics and Neolithic monuments, in Archaeoacoustics, eds. C. Scarre & G. Lawson. Cambridge: McDonald Institute for Archaeological Research, 11-22.

Wyatt, S., 2008. The classification of the clay drums of the southern trichterbecher culture (TRB), available at http://www.jungsteinsite.uni-kiel.de/2008_wyatt/2008_Wyatt_high.pdf