This book arose from an international symposium in Honour of Cajsa S. Lund that took place in 2016 at Linnaeus University’s Department of Music and Art, in Växjö, Sweden. The symposium was organized by Nordic music archaeologists Gjermund Kolltveit (Oslo) and Riitta Rainio (Helsinki), with Cornelius Holtorf and Karin Hallgren as local contributors at Linnaeus University. It was funded by the Swedish Research Council, the Nordic Culture Fund and Musik i Syd. The book is edited by Gjermund Kolltveit and Riitta Rainio, and published in Berlin by Ekho Verlag. The contributors are Cornelius Holtorf, Iain Morley, Catherine Homo-Lechner, Emiliano Li Castro, Rupert Till, Frances Gill, Annemies Tamboer, Graeme Lawson, Stefan Hagel, Timo Leisiö, Anders Söderberg, Dorota Popławska, Andrzej Janowski, Stanisław Mazurek, Simon Wyatt, Raquel Jiménez Pasalodos, Riitta Rainio, John Purser, Joachim Schween and Cajsa S. Lund.Non peer reviewe

Kolltveit, Gjermund

Rainio, Riitta

English

Helsingin yliopiston digitaalinen arkisto

https://helda.helsinki.fiIntroduction to the Volume : The Archaeology of Sound,Acoustics and MusicKolltveit, GjermundEkho verlag2020Kolltveit , G & Rainio , R 2020 , Introduction to the Volume : The Archaeology of Sound,Acoustics and Music . in G Kolltveit & R Rainio (eds) , The Archaeology of Sound, Acousticsand Music : Studies in Honour of Cajsa S. Lund . vol. 3 , Publications of the ICTM StudyGroup on Music Archaeology , vol. 3 , Ekho verlag , Berlin , pp. 21-27 .http://hdl.handle.net/10138/321247publishedVersionDownloaded from Helda, University of Helsinki institutional repository.This is an electronic reprint of the original article.This reprint may differ from the original in pagination and typographic detail.Please cite the original version.!e Archaeology of Sound, Acoustics and Music: Studies in Honour of Cajsa S. LundGjermund Kolltveit and Riitta Rainio, eds.Publications of the ICTM Study Group on Music Archaeology, Vol. 3Series Editor: Arnd Adje BothBerlin: Ekho Verlag, 2020 368 pages with 86 "gures and 6 tablesISSN 2198-039X ISBN 978-3-944415-10-9 (Series)ISBN 978-3-944415-39-0 (Vol. 3)ISBN 978-3-944415-40-6 (PDF)Layout and Typography:Claudia Zeissig · Kunst & Gestaltung | www.claudiazeissig.chPrinted in PolandEkho VerlagDr. Arnd Adje Both, Berlininfo@ekho-verlag.com | www.ekho-verlag.comAll rights are reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior permission of Ekho Verlag.© 2020 Ekho Verlag5Prefaces and Introduction11The Sounds of Former Silence Cornelius Holtorf13Pioneering Archaeological Approaches to MusicIain Morley15My Tribute to Cajsa, or My Encounter with the Swedish Fairy Godmother  of the New Music ArchaeologyCatherine Homo-Lechner19Ears wide open: Listening to the 4D Soundscapes of Cajsa S. Lund Emiliano Li Castro21Introduction to the Volume The Archaeology of Sound, Acoustics and Music: Studies in Honour of Cajsa S. LundGjermund Kolltveit and Riitta RainioContents6 ContentsChapters31Sound Archaeology and the Soundscape Rupert Till55Ears to the Ground: On Cajsa Lund’s Legacy and Moving MovementsFrances Gill97The Rommelpot of the Netherlands as a Case Study  in Cajsa Lund’s Probability Groups Annemies Tamboer 117The Mammoth in the Room:  Did Musical Necessity Drive Innovation in Ancient Technology?Graeme Lawson 151The Birth of European Music from the Spirit of the Lyre Stefan Hagel171The North Germanic Lyre and the Baltic Psaltery:  A Neurological Explanation for their Different TuningsTimo Leisiö199A Handful of String Instrument Finds from Medieval Sigtuna, SwedenAnders Söderberg7Contents209Music Archaeology in Wolin, Poland:  A Thirteenth Century Possible Fiddle, Citole or NyckelharpaDorota Pop#awska, Andrzej Janowski and Stanis#aw Mazurek227TRB Drums and Rituals of TransformationSimon Wyatt247Missing Membranophones? Traditional Drumbeaters in Northern Eurasia  and Possible Prehistoric Parallels in European Archaeological Collections Raquel Jiménez Pasalodos and Riitta Rainio291Beyond the Carnyx: Recent Developments in Scottish Music ArchaeologyJohn Purser307Ornamental and Structural Details on the Surface of the Bronze Age Lurs Joachim Schween 323In the Mind of a Music ArchaeologistCajsa S. Lund345Publications by Cajsa S. Lund 1972–2019363Contributors to the Volume21Cajsa S. Lund is a celebrity in music archaeology. She has been a pioneer and a central voice in this interdisciplinary !eld of study since the 1970s. Her work and ideas have in"uenced and motivated many scholars in Sweden, other Nordic countries and the rest of the world. In this book some of the leading music archaeologists in Europe explore the archaeology of sound, acoustics and music with articles written in honour of Cajsa and her inspiring work.Cajsa Stomberg Lund was among the !rst to carry out systematic and continuing research on sound tools derived from archaeological materials. In the 1970s she worked for the Music Museum (Musikmuseet) in Stockholm, conducting an extensive inventory project on prehistoric sound tools in Sweden (called Riksinventeringen). Later she was a research fellow at the Royal Swedish Academy of Music (Kungliga Musikaliska Akademien). She has always been active in international cooperation and was one of the founding members of the Study Group on Music Archaeology of the ICTM (International Council for Traditional Music) in Seoul in 1981. Between 2013 and 2018, Lund was a member of the project team of the EU-funded European Music Archaeology Project (EMAP), where she represented Sweden through the regional institution Musik i Syd. In this institution she was regularly employed as Head Researcher and Artistic Director. As a researcher, Cajsa S. Lund has focused on prehistoric music, sound, sound tools and soundscapes of Scandinavia, with particular attention to experimental music archaeology, identi!cation of sound tools and methodology. She has developed a direction of research that to some extent di#ers from work with cultures in the Introduction to the Volume The Archaeology of Sound, Acoustics and MusicStudies in Honour of Cajsa S. Lund By Gjermund Kolltveit and Riitta Rainio22 Gjermund Kolltveit & Riitta Rainio South, notably the ancient civilizations of Greece, Rome, Egypt and Mesopotamia. $e material from Scandinavia – and northern Europe as well – can only to a limited extent be supplemented with written documents or iconographical representations. $e interpretations are chie"y based on the archaeological !ndings: artefacts and their contexts – sometimes in combination with ethnographic analogy drawn from preserved archaic features and traditions. In addition to this work, her wide under-standing of the concept of music must also be mentioned. Typically, she prefers to use “sound tools” instead of “musical instruments”.Cajsa is also a musician and began her career as a bassoonist (and also a clas-sical saxophonist) in the Malmö Symphony Orchestra. A musical and artistic direc-tion has always been important in her work. “Music archaeology is a tool for art and knowledge,” says Cajsa. A milestone in her work was the famous LP and later CD !e Sounds of Prehistoric Scandinavia (Swedish Fornnordiska klanger), originally produced in 1984, which she did the research for and was the producer. $is record has reached a broad audience, and many of the contributions in this book mention this phonogram.One of the hallmarks of Cajsa’s work is presenting her research for the general public as concert demonstrations and popular lectures in museums, concert halls, schools, kindergartens and other places. In these award-winning, outward-oriented activities, she has o%en included the instrument maker and fellow musician Åke Egevad. Cajsa’s interest in children and “ordinary people” is symptomatic of her general attitude as a music archaeologist and scholar. She is always curious, continu-ously asking questions and forming new theories and hypotheses.Cajsa is still an active researcher, contributing much important work. She is always busy with travels, lectures, concerts and papers. Moreover, she is now working at Linnaeus University, where she has a position as a research a&liate. $ere, she lectures and is introducing a new generation to the !eld of music archaeology. $is book arose from the Symposium in Honour of Cajsa S. Lund that took place at Linnaeus University’s Department of Music and Art, in Växjö, Sweden, 18–19 February 2016. $e symposium was organized by Nordic music archaeologists Gjer-mund Kolltveit (Oslo) and Riitta Rainio (Helsinki), with Cornelius Holtorf and Karin Hallgren as local contributors at Linnaeus University. It was funded by the Swedish Research Council, the Nordic Culture Fund and Musik i Syd, and was attended by Cajsa’s colleagues and fellow music archaeologists, students and sta# at Linnaeus 23IntroductionUniversity as well as other interested people. One of the aims of the symposium was to strengthen the bonds between the archaeological and musicological communities in the Nordic countries, but it was still an international symposium with papers, panels and concert demonstrations by scholars from di#erent European countries. Most of the articles in this book are based on papers presented at the symposium in Växjö. $e editing of this book was supported by the Finnish-Norwegian Cultural Foundation and the editorial work was finalised by several language revisers, to whom we editors are most grateful. $e book starts with four forewords – or greetings to Cajsa – written by distin-guished scholars with di#erent relationships to her. Cornelius Holtorf is Professor of Archaeology at Linnaeus University with a wide approach to archaeological research, including interest in heritage and future studies. It was Holtorf who invited Cajsa to take the position as a&liated researcher at the university. Iain Morley is a leading archaeologist and palaeoanthropologist at the University of Oxford. With interests in the evolutionary origins of musical and ritual behaviours, he is situated on the outskirts of the mainstream music-archaeological landscape. Catherine Homo-Lechner was Cajsa’s counterpart in Paris in the 1980s, where she had an active career and, amongst other activities, worked with the publications of the ICTM Study Group on Music Archaeology. Finally, Emiliano Li Castro, from Tarquinia, Italy, was Cajsa’s colleague as the Head and Art Director of the European Music Archaeology Project (EMAP). $e authors of the !rst research articles address themselves to the !eld of music archaeology as a whole and to Cajsa S. Lund’s legacy within it. In his article “Sound Archaeology and the Soundscape”, Rupert Till explores the conceptual boundaries between music and sound and ends up framing music archaeology as a sub-discipline of sound archaeology, which in turn can be seen to fall into the larger, burgeoning !elds of sound studies and multi-sensory archaeology. Till traces the beginning of this development back to Cajsa, who from her early work onwards has systemati-cally broadened the !eld of music archaeology from a focus on musical instruments to include sound, sound tools and soundscapes. Cajsa’s visionary role is further discussed by Frances Gill, who in her article “Ears to the Ground” reviews Cajsa’s methodological and terminological initiatives, pointing out how they gently and broad-mindedly hand over interpretation also to suggestion and possibility. Gill goes on to relate how Cajsa, as a role model even before gender and feminist archaeologies, 24 Gjermund Kolltveit & Riitta Rainio has in"uenced her own work in Sweden, mainly situated within the movements of experimental music and experimental heritage. In her article “$e Rommelpot of the Netherlands”, Annemies Tamboer goes deeply into Lund’s Probability Grouping, a method of grouping archaeological objects by their probability of having been used for sound production. $e article tests the method meticulously in practice and demonstrates that the concept is well-suited for analysing – or putting in order – extremely challenging, fragmentary material. Graeme Lawson’s article “$e Mammoth in the Room” calls for according more respect and intrinsic value to music-archaeological endeavours by stating that musical necessity has been one of the key factors driving innovation in ancient tech-nology. In the article, music’s frequent proximity to innovation is illustrated via a wide variety of examples, ranging from tool-making behaviours of early humans to Upper Palaeolithic ivory pipes, Sumerian lyres, Chinese bell casting and Late Antique lyres. According to Lawson, “the time has come for archaeology to re-engage with its musical materials and to invest in their study”.Four of the articles are devoted to stringed instruments. Stefan Hagel connects musical instrument design with music theory, specifically the tuning of the six-stringed lyre from the northern parts of early medieval Europe, its connection to the basic hexachord system and its use by Guido of Arezzo in his famous solmisation system from the 11th century. $e impact of the lyre in music theory seems more than random, and Hagel’s interpretations convincingly demonstrate some signi!cant developments in European music. “$e Birth of European Music from the Spirit of the Lyre” will prove to be an important article, not only in music archaeology and instrument history, but in historical musicology more generally as well. $e tuning of the “northern” lyre is also a point of focus in Timo Leisiö’s article. He applies the neurological research of Gerald Langner and his own “seeker tone system” to the tuning of lyres and psalteries. $e article o#ers fresh and bold interpretations of northern stringed instruments. Among the issues discussed in the article are the reasons why the lyres of western Europe had six strings, while the psalteries along the eastern coasts of the Baltic Sea region had !ve. Besides his theories on tuning, Leisiö also draws a comparative map wherein he discusses these instruments and the relationships between them in folk traditions. Sigtuna is one of the medieval cities of Sweden where many excavations have taken place. Anders Söderberg introduces some !nds from old and new excavations 25Introductionthere related to stringed musical instruments, including a wooden artefact interpreted as a tuning key for a nyckelharpa. $e artefact is from an early excavation when the methods did not conform to modern archaeological standards, but Söderberg claims that the object possibly might be related to a 13th-century cultural layer. $is indi-cates that the nyckelharpa dates back much earlier than previously thought. Another interesting !nd, from Wolin in northwest Poland, vaguely suggests the same thing and is the topic for the article by Dorota Pop'awska, Andrzej Janowski and Stanis'aw Mazurek. $e artefact is a wooden plate, dated to the 13th–14th century, which in all likelihood was a soundboard for a stringed musical instrument. Like in Sigtuna, other remnants of the instrument have not survived and, unfortunately, the single object does not allow for a substantiated identi!cation of the instrument it once belonged to. It could be a type of !ddle or citole, but the authors conclude that a reasonable interpretation is that it was a soundboard of a nyckelharpa – even if it is too early according to our present knowledge of the origins of this medieval instrument. An interesting part of music archaeology is that new !nds sometimes shed new light on the history of musical instruments. When the written sources have limited value, archaeology yields new material, as illustrated by these contributions.$e topic of Simon Wyatt’s text is the ritual and transformative uses of TRB drums, i.e. pottery drums of the Trichterbecher or Funnelbeaker culture in Neolithic Germany. $ere is a change in the drums, their form, decorations and !nd circumstances from an early to a later phase, and Wyatt discusses the reasons for these changes. Whereas the drums from the early phase were related to copper artefacts, !re and death, the later drums are usually found in settlements and seem to loose such connections. Wyatt’s interpretation is that the TRB drums in the late phase loose their connection to rites of passage and other transformational ritual ceremonies. $e point of focus in the article by Raquel Jiménez Pasalodos and Riitta Rainio is also ancient drumming, or more precisely the search for ancient drumming through a study of drumbeaters. $ey start with a survey of drumbeaters used by Sámi and Siberian shamans, and from these ethnographical, partly historical samples, they search for parallels in European archaeological collections, and discuss the potentials of some artefacts being used as drumbeaters. Especially promising in their study is the analysis of use-wear in some Sámi drumbeaters, which provided them “with a set of useful criteria and a clear idea of what type of artefact and use-wear to search for”. Here, Jiménez Pasalodos and Rainio have developed a methodology that can be useful for future studies.26 Gjermund Kolltveit & Riitta Rainio John Purser, in his article “Beyond the Carnyx”, surveys recent developments in Scottish music archaeology. He presents the ongoing projects of his colleagues and reports new intriguing !nds, such as rock gongs, depictions of wind instruments and a Roman altar with possible acoustic use. $e most detailed reference is made to the putative bridge for a plucked string instrument, an early example of its kind, which Purser recently examined using optical microscopy. $e work was carried out together with Graeme Lawson. $e famous lurs from the Bronze Age have for a long time fascinated archae-ologists, musicologists and the general public. A separate volume from the second conference of the ICTM Study Group on Music Archaeology, organised by Cajsa S. Lund in Stockholm 1984, was devoted to bronze lurs. $e book had a variety of con-tributions, and the introductory article by Cajsa is still referred to quite o%en on this topic. One research issue however, has not previously been treated in depth, namely the decorative elements and sculptural decorations of the lurs. Joachim Schween deals with this topic in his article, which is based on systematic analysis and examinations of detectable structures on the surfaces of the instruments. Schween !nds traces of production and use, typological rudiments in the development of the instruments and symbols of religious and cosmological signi!cance that reveal cultic usage.At the Växjö symposium, we asked Cajsa to tell about her own history and expe-riences as a pioneering music archaeologist. Her historiographical, personal talk, “In the Mind of a Music Archaeologist”, was the culmination of the event. As the talk contained many interesting stories and anecdotes about the early stages in the development of the !eld and potentially valuable documentation for future genera-tions, we have included it, as such, at the end of the book. $e book concludes with a comprehensive list of Cajsa S. Lund’s publications from 1972 up to now. We have included scienti!c and popular articles, in Swedish as well as in English and other languages. $e list demonstrates impressive research activity spanning !ve decades. Even still, the list continues, since Cajsa is as active as ever. $e only times when she reduces her workloads somewhat are during large sporting events like the Winter Olympics – where she follows the Swedish cross-country skiers – and the interna-tional championships in football – where she cheers on the Swedish football stars.Gjermund Kolltveit & Riitta Rainio Cajsa S. Lund in the garden at her home Hampusgården in Åkarp, Sweden.

Introduction to the Volume : The Archaeology of Sound, Acoustics and Music

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