The music-archaeology of the Palaeolithic within its cultural setting
A consideration of the music-archaeological evidence of the Upper Palaeolithic from Aurignacian onwards, set within the cultural and anatomical context of its creators: examining its evolutionary relationship with the events of the Mousterian and with successive musical-cultural behaviour during the Mesolithic and Neolithic of Europe. The work builds upon study undertaken as an undergraduate and M.Mus. student, and is the culmination of four years' research at Cambridge. The work is designed to be both a theoretical and practical approach, the product of a thorough documentary survey of literature from several disciplines, contacts with major European institutions, fieldwork abroad and the replication of selected Palaeolithic sound-producers. The first section, devoted to the origins of musical behaviour, explores the relationship between conceptualisation, behaviour and sound alongside major evolutionary developments such as speech, locomotion, manual skills and other forms of non-verbal communication. The Middle-Upper Palaeolithic transition is presented as the scenario for the appearance of the sound-producer, and Section 2 outlines the cultural and sociological factors which distinguish Mousterian and
Scothern, Paula Marie Theresa
Musical sound production
The music-archaeology of the Palaeolithic within its cultural setting. A consideration of the music-archaeological evidence of the Upper Palaeolithic from Aurignacian onwards, set within the cultural and anatomical context of its creators: examining its evolutionary relationship with the events of the Mousterian and with successive musical-cultural behaviour during the Mesolithic and Neolithic of Europe. The work builds upon study undertaken as an undergraduate and M.Mus. student, and is the culmination of four years' research at Cambridge. The work is designed to be both a theoretical and practical approach, the product of a thorough documentary survey of literature from several disciplines, contacts with major European institutions, fieldwork abroad and the replication of selected Palaeolithic sound-producers. The first section, devoted to the origins of musical behaviour, explores the relationship between conceptualisation, behaviour and sound alongside major evolutionary developments such as speech, locomotion, manual skills and other forms of non-verbal communication. The Middle-Upper Palaeolithic transition is presented as the scenario for the appearance of the sound-producer, and Section 2 outlines the cultural and sociological factors which distinguish Mousterian and
music archaeology palaeolithic within cultural setting consideration music archaeological_evidence upper palaeolithic onwards set_within cultural anatomical context creator examine evolutionary relationship event successive musical cultural behaviour mesolithic neolithic europe work build_upon study undertaken undergraduate student culmination year cambridge work design theoretical_practical product thorough documentary survey_literature several discipline contact major_european institution fieldwork abroad replication select palaeolithic sound first_section devote origin musical behaviour explore_relationship conceptualisation behaviour sound alongside major evolutionary development speech manual skill form non_verbal communication middle_upper_palaeolithic transition present scenario appearance sound producer section outline cultural sociological factor distinguish