{"id":345,"date":"2019-01-09T11:33:00","date_gmt":"2019-01-09T11:33:00","guid":{"rendered":"http:\/\/patrimoniweb.com\/erc\/?page_id=345"},"modified":"2026-03-22T20:18:23","modified_gmt":"2026-03-22T20:18:23","slug":"publications","status":"publish","type":"page","link":"https:\/\/www.ub.edu\/artsoundscapes\/publications\/","title":{"rendered":"Publications"},"content":{"rendered":"<p>[et_pb_section fb_built=\u00bb1&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb background_color=\u00bb#000000&#8243;][et_pb_row _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb][et_pb_column type=\u00bb4_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb][et_pb_text _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb]<\/p>\n<h1>PUBLICATIONS<\/h1>\n<p>[\/et_pb_text][et_pb_divider color=\u00bb#EA5A01&#8243; divider_weight=\u00bb3px\u00bb _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb width=\u00bb30%\u00bb][\/et_pb_divider][et_pb_text _builder_version=\u00bb4.9.1&#8243; _module_preset=\u00bbdefault\u00bb text_text_color=\u00bb#FFFFFF\u00bb]<\/p>\n<p>Follow the results of the project through the\u00a0articles\u00a0published by\u00a0us\u00a0\u00a0\u00a0<\/p>\n<p>[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=\u00bb1&#8243; _builder_version=\u00bb4.9.2&#8243; _module_preset=\u00bb08d8243f-4ddc-4cfb-866e-5cdc3ce56dee\u00bb custom_margin=\u00bb||-4%||false|false\u00bb][et_pb_row _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb][et_pb_column type=\u00bb4_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb][et_pb_text _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb]<\/p>\n<h3>2026<\/h3>\n<p>[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\u00bb3_4,1_4&#8243; _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb custom_margin=\u00bb0px||0px||false|false\u00bb custom_padding=\u00bb0px||||false|false\u00bb border_color_all=\u00bb#EA5A01&#8243; border_style_all=\u00bbdashed\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_column type=\u00bb3_4&#8243; _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb custom_padding=\u00bb||29px||false|false\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_text _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb]<\/p>\n<p>&nbsp;<\/p>\n<p>Alvarez-Morales, Lidia, Santos da Rosa, Neemias, &amp; D\u00edaz-Andreu, Margarita 2026. How to Conduct an Archaeoacoustic Study of Rock Art Sites Through Impulse Response Measurements. <em>Advances in Archaeological Practice<\/em>, online, 1-13. <a href=\"https:\/\/doi.org\/10.1017\/aap.2025.10118\">https:\/\/doi.org\/10.1017\/aap.2025.10118<\/a>. <a href=\"https:\/\/www.cambridge.org\/core\/journals\/advances-in-archaeological-practice\/article\/how-to-conduct-an-archaeoacoustic-study-of-rock-art-sites-through-impulse-response-measurements\/CA8D9F10F654D095D03EA5984B10A121\">Go to publication &gt;<\/a><\/p>\n<h1><\/h1>\n<p>&nbsp;<\/p>\n<p>[\/et_pb_text][\/et_pb_column][et_pb_column type=\u00bb1_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2026\/03\/Advances_in_Archaeological_Practice.jpg\u00bb title_text=\u00bbAdvances_in_Archaeological_Practice\u00bb _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb][\/et_pb_image][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\u00bb3_4,1_4&#8243; _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb custom_margin=\u00bb0px||0px||false|false\u00bb custom_padding=\u00bb0px||||false|false\u00bb border_color_all=\u00bb#EA5A01&#8243; border_style_all=\u00bbdashed\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_column type=\u00bb3_4&#8243; _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb custom_padding=\u00bb||29px||false|false\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_text _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb]<\/p>\n<p>&nbsp;<\/p>\n<p>Kumbani, Joshua &amp; D\u00edaz-Andreu, Margarita 2026. Dance scenes in South African rock art: a closer look at ritual, music and movement. The Conversation, <a href=\"https:\/\/doi.org\/https:\/\/doi.org\/10.64628\/AAJ.ksmenw49u\">https:\/\/doi.org\/10.64628\/AAJ.ksmenw49u<\/a>. <a href=\"https:\/\/theconversation.com\/dance-scenes-in-south-african-rock-art-a-closer-look-at-ritual-music-and-movement-275489\">Go to publication &gt;<\/a><\/p>\n<h1><\/h1>\n<p>&nbsp;<\/p>\n<p>[\/et_pb_text][\/et_pb_column][et_pb_column type=\u00bb1_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2026\/02\/The_Conversation_.jpg\u00bb title_text=\u00bbThe_Conversation_\u00bb _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb][\/et_pb_image][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb][et_pb_column type=\u00bb4_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb][et_pb_text _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb]<\/p>\n<h3>2025<\/h3>\n<p>[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\u00bb3_4,1_4&#8243; _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb custom_margin=\u00bb0px||0px||false|false\u00bb custom_padding=\u00bb0px||||false|false\u00bb border_color_all=\u00bb#EA5A01&#8243; border_style_all=\u00bbdashed\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_column type=\u00bb3_4&#8243; _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb custom_padding=\u00bb||29px||false|false\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_text _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb]<\/p>\n<p>&nbsp;<\/p>\n<p>D\u00edaz-Andreu, M. 2025. Archaeoacoustics: research on past musics and sounds. <em>Annual Review of Anthropology<\/em>, 54, 113-130. <a href=\"https:\/\/doi.org\/https:\/\/doi.org\/10.1146\/annurev-anthro-071323-113540\" target=\"_blank\" rel=\"noopener\">https:\/\/doi.org\/10.1146\/annurev-anthro-071323-113540<\/a>. <a href=\"https:\/\/www.annualreviews.org\/content\/journals\/10.1146\/annurev-anthro-071323-113540\">Go to publication &gt;<\/a><\/p>\n<p>&nbsp;<\/p>\n<h1><\/h1>\n<p>&nbsp;<\/p>\n<p>[\/et_pb_text][\/et_pb_column][et_pb_column type=\u00bb1_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2025\/10\/Annual_Reviews__LOGO_bluewhite2.jpg\u00bb title_text=\u00bbAnnual_Reviews__LOGO_blue+white2&#8243; _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb width=\u00bb75%\u00bb][\/et_pb_image][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\u00bb3_4,1_4&#8243; _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb custom_margin=\u00bb0px||0px||false|false\u00bb custom_padding=\u00bb0px||||false|false\u00bb border_color_all=\u00bb#EA5A01&#8243; border_style_all=\u00bbdashed\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_column type=\u00bb3_4&#8243; _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb custom_padding=\u00bb||29px||false|false\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_text _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb]<\/p>\n<p>&nbsp;<\/p>\n<p>L\u00f3pez Garcia, Miquel and Diaz-Andreu, Margarita 2025. Signalling and Music-Making: Interpreting the Neolithic Shell Trumpets of Catalonia (Spain). Antiquity 99, 1480-1497. <a href=\"https:\/\/doi.org\/10.15184\/aqy.2025.10220\">https:\/\/doi.org\/10.15184\/aqy.2025.10220<\/a>. <a href=\"https:\/\/www.cambridge.org\/core\/journals\/antiquity\/article\/signalling-and-musicmaking-interpreting-the-neolithic-shell-trumpets-of-catalonia-spain\/84EE0A2A9B8C1C11E1C6476A4F191E01\">Go to publication &gt;<\/a><\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<h1><\/h1>\n<p>&nbsp;<\/p>\n<p>[\/et_pb_text][\/et_pb_column][et_pb_column type=\u00bb1_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2025\/12\/antiquity.jpg\u00bb title_text=\u00bbantiquity\u00bb _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb width=\u00bb75%\u00bb][\/et_pb_image][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\u00bb3_4,1_4&#8243; _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb custom_margin=\u00bb0px||0px||false|false\u00bb custom_padding=\u00bb0px||||false|false\u00bb border_color_all=\u00bb#EA5A01&#8243; border_style_all=\u00bbdashed\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_column type=\u00bb3_4&#8243; _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb custom_padding=\u00bb||29px||false|false\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_text _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb]<\/p>\n<p>&nbsp;<\/p>\n<p>D\u00edaz-Andreu, M., \u00c1lvarez-Morales, L., &amp; Santos da Rosa, N. 2025. The archaeoacoustics of rock art sites: a methodological review. In P. Jordan, S. Mura, &amp; S. Hamilton (Eds.), <em>New Sensory Approaches to the Past: Applied Methods in Sensory Heritage and Archaeology<\/em> (pp. 255-284). UCL Press. <a href=\"https:\/\/doi.org\/10.14324\/111.9781800088696\" target=\"_blank\" rel=\"noopener\">https:\/\/doi.org\/10.14324\/111.9781800088696<\/a><\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<h1><\/h1>\n<p>&nbsp;<\/p>\n<p>[\/et_pb_text][\/et_pb_column][et_pb_column type=\u00bb1_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2025\/09\/Jordan_et_al_COVER.jpg\u00bb title_text=\u00bbJordan_et_al_COVER\u00bb _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb width=\u00bb75%\u00bb][\/et_pb_image][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\u00bb3_4,1_4&#8243; _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb custom_margin=\u00bb0px||0px||false|false\u00bb custom_padding=\u00bb0px||||false|false\u00bb border_color_all=\u00bb#EA5A01&#8243; border_style_all=\u00bbdashed\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_column type=\u00bb3_4&#8243; _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb custom_padding=\u00bb||29px||false|false\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_text _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb]<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>Kumbani, Joshua &amp; D\u00edaz-Andreu, Margarita 2025. Animated motifs: a systematic analysis of dance scenes in the rock art of the Zambezi and Save river basins (Zimbabwe) Journal of Music Archaeology, 3, 131-155. <a href=\"https:\/\/doi.org\/10.1553\/JMA-003-05\">https:\/\/doi.org\/10.1553\/JMA-003-05<\/a>.\u00a0 <a href=\"https:\/\/jma.vlg.oeaw.ac.at\/index.php\/jma\/article\/view\/65\">Go to publication &gt;<\/a><\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<h1><\/h1>\n<p>&nbsp;<\/p>\n<p>[\/et_pb_text][\/et_pb_column][et_pb_column type=\u00bb1_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2026\/02\/JMA_3_2025.jpg\u00bb title_text=\u00bbJMA_3_2025&#8243; _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb width=\u00bb99%\u00bb max_width=\u00bb79%\u00bb][\/et_pb_image][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\u00bb3_4,1_4&#8243; _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb custom_margin=\u00bb0px||0px||false|false\u00bb custom_padding=\u00bb0px||||false|false\u00bb border_color_all=\u00bb#EA5A01&#8243; border_style_all=\u00bbdashed\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_column type=\u00bb3_4&#8243; _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb custom_padding=\u00bb||29px||false|false\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_text _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb]<\/p>\n<p>&nbsp;<\/p>\n<p>Kumbani, J. &amp; D\u00edaz-Andreu, M. 2025. Exploring dance scenes in South African rock art: From Kwazulu-Natal to the Western Cape. <em>Telestes 5<\/em>, 13-42. <a href=\"https:\/\/doi.org\/10.19272\/202514701002\" target=\"_blank\" rel=\"noopener\">https:\/\/doi.org\/10.19272\/202514701002<\/a>. <a href=\"https:\/\/www.libraweb.net\/articoli.php?chiave=202514701&amp;rivista=147\" target=\"_blank\" rel=\"noopener\">Go to publication &gt;<\/a><\/p>\n<h1><\/h1>\n<p>&nbsp;<\/p>\n<p>[\/et_pb_text][\/et_pb_column][et_pb_column type=\u00bb1_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2025\/09\/JOURNAL_Telestes_V_2025.jpg\u00bb title_text=\u00bbJOURNAL_Telestes_V_2025&#8243; _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb width=\u00bb75%\u00bb][\/et_pb_image][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\u00bb3_4,1_4&#8243; _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb custom_margin=\u00bb0px||0px||false|false\u00bb custom_padding=\u00bb0px||||false|false\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_column type=\u00bb3_4&#8243; _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb custom_padding=\u00bb||29px||false|false\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_text _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb]<\/p>\n<p>&nbsp;<\/p>\n<p>Aparicio-Terr\u00e9s, R., L\u00f3pez-Mochales, S., D\u00edaz-Andreu, M., &amp; Escera, C. 2025. The neurobiology of altered states of consciousness induced by drumming and other rhythmic sound patterns. <em>Annals of the New York Academy of Sciences<\/em>, published online 16 July 2025. <a href=\"https:\/\/doi.org\/http:\/doi.org\/10.1111\/nyas.15403\" target=\"_blank\" rel=\"noopener\">http:\/\/doi.org\/10.1111\/nyas.15403<\/a>. <a href=\"https:\/\/nyaspubs.onlinelibrary.wiley.com\/doi\/10.1111\/nyas.15403\" target=\"_blank\" rel=\"noopener\">Go to publication &gt;\u00a0<\/a><\/p>\n<p>[\/et_pb_text][\/et_pb_column][et_pb_column type=\u00bb1_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2025\/07\/nyas.v1524.1.cover-1.jpg\u00bb title_text=\u00bbnyas.v1524.1.cover (1)\u00bb _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb width=\u00bb75%\u00bb][\/et_pb_image][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\u00bb3_4,1_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_margin=\u00bb0px||0px||false|false\u00bb custom_padding=\u00bb0px||||false|false\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_column type=\u00bb3_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_text _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb]<\/p>\n<p>D\u00edaz-Andreu, M., Alvarez-Morales, L., Ben\u00edtez-Arag\u00f3n, D., Moreno-Iglesias, D., &amp; Loubser, J. H. N. 2025. Rock imagery and acoustics at the White River Narrows (WRN), Lincoln County, Nevada.\u00a0<em>Arts<\/em>,<em>\u00a014<\/em>(3), art. 62, 1-18.\u00a0<a href=\"https:\/\/doi.org\/10.3390\/arts14030062\" target=\"_blank\" rel=\"noopener\">https:\/\/doi.org\/10.3390\/arts14030062<\/a>.\u00a0<a href=\"https:\/\/www.mdpi.com\/2076-0752\/14\/3\/62\" target=\"_blank\" rel=\"noopener\">Go to publication &gt;<\/a><\/p>\n<p>[\/et_pb_text][\/et_pb_column][et_pb_column type=\u00bb1_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2025\/06\/arts_journal.jpg\u00bb title_text=\u00bbarts_journal\u00bb _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb width=\u00bb75%\u00bb][\/et_pb_image][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\u00bb3_4,1_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_margin=\u00bb0px||0px||false|false\u00bb custom_padding=\u00bb0px||||false|false\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_column type=\u00bb3_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_text _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb]<\/p>\n<p>Aparicio-Terr\u00e9s, R., L\u00f3pez-Mochales, S., D\u00edaz-Andreu, M., &amp; Escera, C. 2025. The strength of neural entrainment to electronic music correlates with proxies of altered states of consciousness. <em>Frontiers in Human Neuroscience<\/em>,<em> 19<\/em>, art. 1574836. <a href=\"https:\/\/doi.org\/10.3389\/fnhum.2025.1574836\" target=\"_blank\" rel=\"noopener\">https:\/\/doi.org\/10.3389\/fnhum.2025.1574836<\/a>. <a href=\"https:\/\/www.frontiersin.org\/journals\/human-neuroscience\/articles\/10.3389\/fnhum.2025.1574836\/full\" target=\"_blank\" rel=\"noopener\">Go to publication &gt;\u00a0<\/a><strong><\/strong><\/p>\n<p>[\/et_pb_text][\/et_pb_column][et_pb_column type=\u00bb1_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2025\/05\/Frontiers-in-Human-Neuroscience.jpg\u00bb title_text=\u00bbFrontiers in Human Neuroscience\u00bb _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb width=\u00bb75%\u00bb][\/et_pb_image][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\u00bb3_4,1_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_margin=\u00bb0px||0px||false|false\u00bb custom_padding=\u00bb0px||||false|false\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_column type=\u00bb3_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_text _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb]<\/p>\n<p><strong><\/strong><\/p>\n<p><strong><\/strong><\/p>\n<p><strong><\/strong><\/p>\n<p style=\"text-align: justify;\">Gonz\u00e1lez V\u00e1zquez, N., Garc\u00eda Atienzar, G., Santos da Rosa, N., Villalobos Acosta, C., Guti\u00e9rrez Mart\u00ednez, M. de la L., &amp; D\u00edaz-Andreu, M. 2025. GIS, sight and sound. Exploring the rock art landscapes of the Santa Teresa Canyon (Baja California Sur, Mexico) as a case study. <em>Digital Applications in Archaeology and Cultural Heritage<\/em>. <a href=\"https:\/\/doi.org\/10.1016\/j.daach.2025.e00402\" target=\"_blank\" rel=\"noopener\">https:\/\/doi.org\/10.1016\/j.daach.2025.e00402<\/a>\u00a0 &#8211; <a href=\"https:\/\/www.sciencedirect.com\/science\/article\/pii\/S2212054825000049\" target=\"_blank\" rel=\"noopener\">Go to publication &gt;<\/a><\/p>\n<p style=\"text-align: justify;\">\n<p style=\"text-align: justify;\">[\/et_pb_text][\/et_pb_column][et_pb_column type=\u00bb1_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2025\/03\/DAACH.jpg\u00bb title_text=\u00bbDAACH\u00bb _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb width=\u00bb75%\u00bb][\/et_pb_image][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\u00bb3_4,1_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_margin=\u00bb0px||0px||false|false\u00bb custom_padding=\u00bb0px||||false|false\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_column type=\u00bb3_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_text _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb]<\/p>\n<p><strong><\/strong><\/p>\n<p><strong><\/strong><\/p>\n<p><strong><\/strong><\/p>\n<p style=\"text-align: justify;\">Santos da Rosa, N., Alvarez-Morales, L., Moreno Iglesias, D., Laue, G., &amp; D\u00edaz-Andreu, M. 2025. On the relationship between sound, acoustics, and San rock art: An archaeoacoustic study at twenty-seven sites in the Maloti-Drakensberg mountains (South Africa). Journal of Archaeological Science: Reports, 61, art. 104900. <a href=\"https:\/\/doi.org\/10.1016\/j.jasrep.2024.104900\" target=\"_blank\" rel=\"noopener\">https:\/\/doi.org\/10.1016\/j.jasrep.2024.104900<\/a><\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>[\/et_pb_text][\/et_pb_column][et_pb_column type=\u00bb1_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2025\/01\/Journal-of-Archaeological-Science-Reports.jpg\u00bb title_text=\u00bbJournal of Archaeological Science&#8211;Reports\u00bb _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb width=\u00bb75%\u00bb][\/et_pb_image][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\u00bb3_4,1_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_margin=\u00bb0px||0px||false|false\u00bb custom_padding=\u00bb0px||||false|false\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_column type=\u00bb3_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_text _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb height=\u00bb86px\u00bb]<\/p>\n<p><strong><\/strong><\/p>\n<p style=\"text-align: justify;\">L\u00f3pez-Mochales, S., Lokki, T., D\u00edaz-Andreu, M., &amp; Escera, C. 2025. Psychoacoustic Study of the Rock Art Sites of Cuevas de la Ara\u00f1a (Spain). bioRxiv, 15 Jan. <a href=\"https:\/\/doi.org\/10.1101\/2025.01.14.629613\" target=\"_blank\" rel=\"noopener\">https:\/\/doi.org\/10.1101\/2025.01.14.629613<\/a>\u00a0&#8211; <a href=\"https:\/\/www.biorxiv.org\/content\/10.1101\/2025.01.14.629613v1.full.pdf\" target=\"_blank\" rel=\"noopener\">Go to publication &gt;<\/a><\/p>\n<p>[\/et_pb_text][\/et_pb_column][et_pb_column type=\u00bb1_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2025\/01\/bioRxiv.jpg\u00bb title_text=\u00bbbioRxiv\u00bb _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb width=\u00bb75%\u00bb][\/et_pb_image][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\u00bb3_4,1_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_margin=\u00bb0px||0px||false|false\u00bb custom_padding=\u00bb0px||||false|false\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_column type=\u00bb3_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_text _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb]<\/p>\n<p><strong><\/strong><\/p>\n<p><strong><\/strong><\/p>\n<p><strong><\/strong><\/p>\n<p><strong><\/strong><\/p>\n<p><strong><\/strong><\/p>\n<p>Kumbani, J., &amp; D\u00edaz-Andreu, M. 2025. The art of music. The representation of musical instruments in the rock art of Zimbabwe. <em>Azania<\/em>,<em> 60<\/em>(1), 4-34. <a href=\"https:\/\/doi.org\/10.1080\/0067270X.2024.2415211\">https:\/\/doi.org\/10.1080\/0067270X.2024.2415211<\/a>. <a href=\"https:\/\/www.tandfonline.com\/doi\/full\/10.1080\/0067270X.2024.2415211#abstract\" target=\"_blank\" rel=\"noopener\">Go to publication &gt;<\/a><\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>[\/et_pb_text][\/et_pb_column][et_pb_column type=\u00bb1_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2025\/03\/Azania.jpg\u00bb title_text=\u00bbAzania\u00bb _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb width=\u00bb75%\u00bb][\/et_pb_image][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb][et_pb_column type=\u00bb4_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb][et_pb_text _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb]<\/p>\n<h3>2024<\/h3>\n<p>[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\u00bb3_4,1_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_margin=\u00bb0px||0px||false|false\u00bb custom_padding=\u00bb0px||||false|false\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_column type=\u00bb3_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_text _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb height=\u00bb86px\u00bb]<\/p>\n<p><strong><\/strong><\/p>\n<p>Aparicio-Terr\u00e9s, R., L\u00f3pez-Mochales, S., D\u00edaz-Andreu, M., &amp; Escera, C. 2024. Assessing the relationship between neural entrainment and altered states of consciousness induced by electronic music. <em>bioRxiv<\/em>, online. <a href=\"https:\/\/doi.org\/10.1101\/2024.01.16.575849\" target=\"_blank\" rel=\"noopener\">https:\/\/doi.org\/10.1101\/2024.01.16.575849<\/a> <a href=\"https:\/\/doi.org\/10.1101\/2024.01.16.575849\" target=\"_blank\" rel=\"noopener\">Go to publication &gt;\u00a0<\/a><\/p>\n<p>&nbsp;<\/p>\n<p>[\/et_pb_text][\/et_pb_column][et_pb_column type=\u00bb1_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2025\/01\/bioRxiv.jpg\u00bb title_text=\u00bbbioRxiv\u00bb _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb width=\u00bb75%\u00bb][\/et_pb_image][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\u00bb3_4,1_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_margin=\u00bb0px||0px||false|false\u00bb custom_padding=\u00bb0px||||false|false\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_column type=\u00bb3_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_text _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb hover_enabled=\u00bb0&#8243; sticky_enabled=\u00bb0&#8243;]<\/p>\n<p><strong><\/strong><\/p>\n<p>&nbsp;<\/p>\n<p style=\"text-align: justify;\">Gonz\u00e1lez V\u00e1zquez, N., Garc\u00eda Ati\u00e9nzar, G., &amp; D\u00edaz-Andreu, M. 2024. El paisaje visual y sonoro de las figuras femeninas en el arte rupestre levantino del Bajo Arag\u00f3n, Maestrazgo y Bajo Ebro. <em>Salduie<\/em>,<em> 24<\/em>, 1-20. <a href=\"https:\/\/doi.org\/10.26754\/ojs_salduie\/sald.2024211080\" target=\"_blank\" rel=\"noopener\">https:\/\/doi.org\/10.26754\/ojs_salduie\/sald.2024211080<\/a>. <a href=\"https:\/\/papiro.unizar.es\/ojs\/index.php\/salduie\/article\/view\/11080\" target=\"_blank\" rel=\"noopener\">Go to publication&gt;<\/a><\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>[\/et_pb_text][\/et_pb_column][et_pb_column type=\u00bb1_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2025\/03\/Salduie.jpg\u00bb title_text=\u00bbSalduie\u00bb _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb width=\u00bb75%\u00bb][\/et_pb_image][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\u00bb3_4,1_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_margin=\u00bb0px||0px||false|false\u00bb custom_padding=\u00bb0px||||false|false\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_column type=\u00bb3_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_text _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb hover_enabled=\u00bb0&#8243; sticky_enabled=\u00bb0&#8243;]<\/p>\n<p><strong><\/strong><\/p>\n<p><strong><\/strong><\/p>\n<p><strong><\/strong><\/p>\n<p style=\"text-align: justify;\">D\u00edaz-Andreu, M. &amp; Santos da Rosa, N. (eds.) 2024. <em>Exploring ancient sounds and places: theoretical and methodological approaches to archaeoacoustics<\/em>. Oxford: Oxbow. <a href=\"https:\/\/doi.org\/10.2307\/jj.22361592\">https:\/\/doi.org\/10.2307\/jj.22361592<\/a>. <a href=\"https:\/\/www.jstor.org\/content\/oa_book_edited\/jj.22361592\" target=\"_blank\" rel=\"noopener\">Go to publication &gt;<\/a><a href=\"https:\/\/books.google.es\/books?hl=es&amp;lr=&amp;id=3nAqEQAAQBAJ&amp;oi=fnd&amp;pg=PA1993&amp;dq=%22Diaz-Andreu%22&amp;ots=LtMaieMgCM&amp;sig=0b6E2flmHsivE0OjODrTOqPQ2F8#v=onepage&amp;q=%22Diaz-Andreu%22&amp;f=false\" target=\"_blank\" rel=\"noopener\"><\/a><\/p>\n<p>&nbsp;<\/p>\n<p>[\/et_pb_text][\/et_pb_column][et_pb_column type=\u00bb1_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2024\/11\/Diaz-AndreuM__Santos_da_RosaN_2024_Exploring-Ancient-sounds-places.jpg\u00bb title_text=\u00bbDiaz-Andreu,M_&#038;_Santos_da_Rosa,N_2024_Exploring Ancient sounds &#038; places\u00bb _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb width=\u00bb75%\u00bb][\/et_pb_image][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\u00bb3_4,1_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_margin=\u00bb0px||0px||false|false\u00bb custom_padding=\u00bb0px||||false|false\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_column type=\u00bb3_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_text _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb text_orientation=\u00bbjustified\u00bb hover_enabled=\u00bb0&#8243; sticky_enabled=\u00bb0&#8243;]<\/p>\n<p><strong><\/strong><\/p>\n<p><strong><\/strong><\/p>\n<p><strong><\/strong><\/p>\n<p>D\u00edaz-Andreu, M. &amp; Santos da Rosa, N. 2024. Exploring ancient sounds and places. An introduction to the field of archaeoacoustics In D\u00edaz-Andreu, M. &amp; Santos da Rosa, N. (eds.) <em>Exploring ancient sounds and places: theoretical and methodological approaches to archaeoacoustics<\/em>: 1-20. Oxford: Oxbow. <a href=\"https:\/\/doi.org\/10.2307\/jj.22361592.4\">https:\/\/doi.org\/10.2307\/jj.22361592.4<\/a>. <a href=\"https:\/\/www.jstor.org\/content\/oa_chapter_edited\/jj.22361592.4?seq=1\" target=\"_blank\" rel=\"noopener\">Go to publication &gt;<\/a><\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>[\/et_pb_text][\/et_pb_column][et_pb_column type=\u00bb1_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2024\/11\/Ch1_intro.jpg\u00bb title_text=\u00bbCh1_intro\u00bb _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb max_width=\u00bb77%\u00bb][\/et_pb_image][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\u00bb3_4,1_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_margin=\u00bb0px||0px||false|false\u00bb custom_padding=\u00bb0px||||false|false\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_column type=\u00bb3_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_text _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb hover_enabled=\u00bb0&#8243; sticky_enabled=\u00bb0&#8243;]<\/p>\n<p><strong><\/strong><\/p>\n<p><strong><\/strong><\/p>\n<p><strong><\/strong><\/p>\n<p style=\"text-align: justify;\">Aparicio-Terr\u00e9s, R. &amp; Escera, C. 2024. Methodological approaches to understand the cognitive effects of music in ritualistic contexts: Implications for studying ancient ritual activities. In D\u00edaz-Andreu, M. &amp; Santos da Rosa, N. (eds.) <em>Exploring ancient sounds and places: theoretical and methodological approaches to archaeoacoustics<\/em>: 99-122. Oxford: Oxbow. <a href=\"https:\/\/doi.org\/10.2307\/jj.22361592.8\">https:\/\/doi.org\/10.2307\/jj.22361592.8<\/a>. <a href=\"https:\/\/www.jstor.org\/content\/oa_chapter_edited\/jj.22361592.8?seq=1\" target=\"_blank\" rel=\"noopener\">Go to publication &gt;<\/a><\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>[\/et_pb_text][\/et_pb_column][et_pb_column type=\u00bb1_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2024\/11\/Ch5_AparicioEscera-1.jpg\u00bb title_text=\u00bbCh5_Aparicio+Escera (1)\u00bb _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb width=\u00bb77%\u00bb][\/et_pb_image][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\u00bb3_4,1_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_margin=\u00bb0px||0px||false|false\u00bb custom_padding=\u00bb0px||||false|false\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_column type=\u00bb3_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_text _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb hover_enabled=\u00bb0&#8243; sticky_enabled=\u00bb0&#8243;]<\/p>\n<p><strong><\/strong><\/p>\n<p><strong><\/strong><\/p>\n<p><strong><\/strong><\/p>\n<p style=\"text-align: justify;\">L\u00f3pez-Mochales, S. &amp; Escera, C. 2024. Methods for psychoacoustic and emotional evaluation of archaeological soundscapes with auralisation. In D\u00edaz-Andreu, M. &amp; Santos da Rosa, N. (eds.) <em>Exploring ancient sounds and places: theoretical and methodological approaches to archaeoacoustics<\/em>: 123-140. Oxford: Oxbow. <a href=\"https:\/\/doi.org\/10.2307\/jj.22361592.9\">https:\/\/doi.org\/10.2307\/jj.22361592.9<\/a>. <a href=\"https:\/\/www.jstor.org\/content\/oa_chapter_edited\/jj.22361592.9\" target=\"_blank\" rel=\"noopener\">Go to publication &gt;<\/a><\/p>\n<p style=\"text-align: justify;\">[\/et_pb_text][\/et_pb_column][et_pb_column type=\u00bb1_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2024\/11\/Ch6_Lopez-MochalesEscera-1.jpg\u00bb title_text=\u00bbCh6_Lopez-Mochales+Escera (1)\u00bb _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb max_width=\u00bb77%\u00bb][\/et_pb_image][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\u00bb3_4,1_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_margin=\u00bb0px||0px||false|false\u00bb custom_padding=\u00bb0px||||false|false\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_column type=\u00bb3_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_text _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb hover_enabled=\u00bb0&#8243; sticky_enabled=\u00bb0&#8243;]<\/p>\n<p><strong><\/strong><\/p>\n<p><strong><\/strong><\/p>\n<p><strong><\/strong><\/p>\n<p style=\"text-align: justify;\">Alarc\u00f3n-Jim\u00e9nez, A. M.; Jim\u00e9nez Pasalodos, R. &amp; D\u00edaz-Andreu, M. 2024. Ethnohistorical Sources in Archaeoacoustics Research: A Case Study from South-Central California. In D\u00edaz-Andreu, M. &amp; Santos da Rosa, N. (eds.) <em>Exploring ancient sounds and places: theoretical and methodological approaches to archaeoacoustics<\/em>: 141-158. Oxford: Oxbow. <a href=\"https:\/\/doi.org\/10.2307\/jj.22361592.10\">https:\/\/doi.org\/10.2307\/jj.22361592.10<\/a>. <a href=\"https:\/\/www.jstor.org\/content\/oa_chapter_edited\/jj.22361592.10\" target=\"_blank\" rel=\"noopener\">Go to publication &gt;<\/a><\/p>\n<p>&nbsp;<\/p>\n<p>[\/et_pb_text][\/et_pb_column][et_pb_column type=\u00bb1_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2024\/11\/Ch7_Alarcon_et_al-1.jpg\u00bb title_text=\u00bbCh7_Alarcon_et_al (1)\u00bb _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb width=\u00bb100%\u00bb max_width=\u00bb77%\u00bb][\/et_pb_image][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\u00bb3_4,1_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_margin=\u00bb0px||0px||false|false\u00bb custom_padding=\u00bb0px||||false|false\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_column type=\u00bb3_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_text _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb text_orientation=\u00bbjustified\u00bb hover_enabled=\u00bb0&#8243; sticky_enabled=\u00bb0&#8243;]<\/p>\n<p><strong><\/strong><\/p>\n<p><strong><\/strong><\/p>\n<p><strong><\/strong><\/p>\n<p>D\u00edaz-Andreu, M.; Jim\u00e9nez Pasalodos, R.; Santos da Rosa, N.; Ben\u00edtez-Arag\u00f3n, D. &amp; Alvarez-Morales, L. 2024. The rock art soundscapes of the Karakol valley (Republic of Altai, Russia): an archaeoacoustic study of a unique landscape. In D\u00edaz-Andreu, M. &amp; Santos da Rosa, N. (eds.) <em>Exploring ancient sounds and places: theoretical and methodological approaches to archaeoacoustics: <\/em>207-238<em>.<\/em> Oxford: Oxbow. <a href=\"https:\/\/doi.org\/10.2307\/jj.22361592.13\">https:\/\/doi.org\/10.2307\/jj.22361592.13<\/a>. \u00a0<a href=\"https:\/\/www.jstor.org\/content\/oa_chapter_edited\/jj.22361592.13\" target=\"_blank\" rel=\"noopener\">Go to publication &gt;<\/a><\/p>\n<p>&nbsp;<\/p>\n<p>[\/et_pb_text][\/et_pb_column][et_pb_column type=\u00bb1_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2024\/11\/Ch10_Diaz-Andreu_et_al-ALTAI-1.jpg\u00bb title_text=\u00bbCh10_Diaz-Andreu_et_al&#8211;ALTAI (1)\u00bb _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb width=\u00bb77%\u00bb][\/et_pb_image][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\u00bb3_4,1_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_margin=\u00bb0px||0px||false|false\u00bb custom_padding=\u00bb0px||||false|false\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_column type=\u00bb3_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_text _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb]<\/p>\n<p><strong><\/strong><\/p>\n<p><strong><\/strong><\/p>\n<p><strong><\/strong><\/p>\n<p style=\"text-align: justify;\">Alvarez-Morales, L. &amp; D\u00edaz-Andreu, M. (2024). Special Issue: Acoustics, Soundscapes and Sounds as Intangible Heritage. <em>Acoustics<\/em>, ISBN978-3-7258-1503-6 (Hardback); ISBN978-3-7258-1504-3 (PDF); <a href=\"https:\/\/doi.org\/10.3390\/books978-3-7258-1504-3\">https:\/\/doi.org\/10.3390\/books978-3-7258-1504-3<\/a> (registering). 204 pages <a href=\"https:\/\/www.mdpi.com\/books\/reprint\/9474-acoustics-soundscapes-and-sounds-as-intangible-heritage\" target=\"_blank\" rel=\"noopener\">Go to publication &gt;\u00a0<\/a><\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>[\/et_pb_text][\/et_pb_column][et_pb_column type=\u00bb1_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2024\/07\/Acoustics_Soundscapes.jpg\u00bb title_text=\u00bbAcoustics_Soundscapes\u00bb _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb width=\u00bb77%\u00bb][\/et_pb_image][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\u00bb3_4,1_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_margin=\u00bb0px||0px||false|false\u00bb custom_padding=\u00bb0px||||false|false\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_column type=\u00bb3_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_text _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb]<\/p>\n<p style=\"text-align: justify;\"><strong><\/strong><\/p>\n<p><strong><\/strong><\/p>\n<p><strong><\/strong><\/p>\n<p>D\u00edaz-Andreu, M. &amp; Alvarez-Morales, L. (2024)\u00a0 Artsoundscapes: explorando la relaci\u00f3n entre ac\u00fastica, sonido y arte rupestre (Artsoundscapes: exploring the relationship between acoustics,sound and rock art) in Revista de Ac\u00fastica, Vol.55. N\u00fam 1-2, Primer y segundo trimestre de 2024, 11-18.\u00a0 <a href=\"https:\/\/documentacion.sea-acustica.es\/storage\/publicaciones\/6671ca75b8cde.pdf\" target=\"_blank\" rel=\"noopener\">Go to publication &gt;\u00a0<\/a><\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>[\/et_pb_text][\/et_pb_column][et_pb_column type=\u00bb1_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2024\/07\/6671ca75bb76c-1.jpg\u00bb title_text=\u00bb6671ca75bb76c\u00bb _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb width=\u00bb77%\u00bb][\/et_pb_image][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb][et_pb_column type=\u00bb4_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb][et_pb_text _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb]<\/p>\n<h3>2023<\/h3>\n<p>[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\u00bb3_4,1_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_margin=\u00bb0px||0px||false|false\u00bb custom_padding=\u00bb0px||||false|false\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_column type=\u00bb3_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_text _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb]<\/p>\n<p><strong><\/strong><\/p>\n<p><strong><\/strong><\/p>\n<p><strong><\/strong><\/p>\n<p><strong>D\u00edaz-Andreu, M. &amp; Santos da Rosa, N.<\/strong> 2023. [Special Issue: Past Sounds: New Perspectives in the Field of Archaeoacoustics]. <em>Open Archaeology<\/em>,<em> 9<\/em>(1), articles 20220329, 20220330, 20220328, 20220327, 20220344,\u00a0 and 20220340.\u00a0<a href=\"https:\/\/www.degruyter.com\/journal\/key\/opar\/9\/1\/html?lang=en\" target=\"_blank\" rel=\"noopener\">Go to publication &gt;\u00a0<\/a><\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>[\/et_pb_text][\/et_pb_column][et_pb_column type=\u00bb1_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2023\/12\/Open_Archaeology.jpg\u00bb title_text=\u00bbOpen_Archaeology\u00bb _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb width=\u00bb77%\u00bb][\/et_pb_image][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\u00bb3_4,1_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_margin=\u00bb0px||0px||false|false\u00bb custom_padding=\u00bb0px||||false|false\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_column type=\u00bb3_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_text _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb]<\/p>\n<p><strong><\/strong><\/p>\n<p><strong><\/strong><\/p>\n<p><strong><\/strong><\/p>\n<p><b><span lang=\"ES\">D\u00edaz-Andreu, M.<\/span><\/b><span lang=\"ES\"><span>\u00a0<\/span>2023. Una mirada arqueol\u00f3gica al patrimonio inmaterial sonoro del pasado.<span>\u00a0<\/span><i>Arbor [Pablo Revuelta y Mar\u00eda Jos\u00e9 Miranda Su\u00e1rez (eds.) Estudios de sonido: otredades perceptivas para explorar nuevos mundos]<\/i><span>\u00a0<\/span>199 (810): a733.<span> DOI: <a href=\"https:\/\/doi.org\/10.3989\/arbor.2023.810013\" target=\"_blank\" rel=\"noopener\">https:\/\/doi.org\/10.3989\/arbor.2023.810013<\/a><\/span><\/span><span>. <\/span><a href=\"https:\/\/arbor.revistas.csic.es\/index.php\/arbor\/article\/view\/2840\/4075\" target=\"_blank\" rel=\"noopener noreferrer\" data-auth=\"NotApplicable\" data-linkindex=\"2\"><span>Go to publication &gt;\u00a0<\/span><\/a><\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>[\/et_pb_text][\/et_pb_column][et_pb_column type=\u00bb1_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2024\/03\/revista_arbor.jpg\u00bb title_text=\u00bbrevista_arbor\u00bb _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb width=\u00bb77%\u00bb][\/et_pb_image][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\u00bb3_4,1_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_margin=\u00bb0px||0px||false|false\u00bb custom_padding=\u00bb0px||||false|false\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_column type=\u00bb3_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_text _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb]<\/p>\n<p><strong><\/strong><\/p>\n<p><strong><\/strong><\/p>\n<p><strong>Fern\u00e1ndez Mac\u00edas, L.; Santos da Rosa, N. &amp; D\u00edaz-Andreu, M.<\/strong> 2023: Las representaciones femeninas en el Arte Levantino del Bajo Arag\u00f3n, Maestrazgo y Bajo Ebro. Saguntum, 55<strong>,<\/strong> 45-68, DOI: <a href=\"https:\/\/doi.org\/10.7203\/SAGVNTVM.55.24296\" target=\"_blank\" rel=\"noopener\">https:\/\/doi.org\/10.7203\/SAGVNTVM.55.24296<\/a>.\u00a0 \u00a0\u00a0<a href=\"https:\/\/ojs.uv.es\/index.php\/saguntum\/article\/view\/24296\" target=\"_blank\" rel=\"noopener\">Go to publication&gt;<\/a><\/p>\n<p>&nbsp;<\/p>\n<p>[\/et_pb_text][\/et_pb_column][et_pb_column type=\u00bb1_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2023\/12\/saguntum.jpg\u00bb title_text=\u00bbsaguntum\u00bb _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb width=\u00bb82%\u00bb][\/et_pb_image][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\u00bb3_4,1_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_margin=\u00bb0px||0px||false|false\u00bb custom_padding=\u00bb0px||||false|false\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_column type=\u00bb3_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_text _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb]<\/p>\n<p><strong>Alvarez-Morales, L.; Santos da Rosa, N.; Ben\u00edtez-Arag\u00f3n, D.; Lazarich, M. &amp; D\u00edaz-Andreu, M<\/strong>. 2023. Ac\u00fastica de recintos prehist\u00f3ricos: estudio arqueoac\u00fastico de Palomas I. Tecniac\u00fastica. Cuenca 2023: online. Madrid, Sociedad Espa\u00f1ola de Ac\u00fastica, pp.\u00a0 1-6. <a href=\"https:\/\/documentacion.sea-acustica.es\/publicaciones\/Cuenca23\/Abs_95.pdf\" target=\"_blank\" rel=\"noopener\">Go to publication &gt;<\/a><\/p>\n<p>&nbsp;<\/p>\n<p>[\/et_pb_text][\/et_pb_column][et_pb_column type=\u00bb1_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2023\/10\/tecniacustica-logo.png\u00bb title_text=\u00bbtecniacustica-logo\u00bb _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb width=\u00bb82%\u00bb][\/et_pb_image][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\u00bb3_4,1_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_margin=\u00bb0px||0px||false|false\u00bb custom_padding=\u00bb0px||||false|false\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_column type=\u00bb3_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_text _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb]<\/p>\n<p><strong><\/strong><\/p>\n<p><strong>Alvarez-Morales, L.; Santos da Rosa, N.; Ben\u00edtez-Arag\u00f3n, D.; Lazarich, M. &amp; D\u00edaz-Andreu, M.<\/strong> 2023. Recovering the intangible acoustic heritage of rock art sites: El Tajo de las Figuras as a case study. In\u00a0 <em>International Conference \u2013 Immersive and 3D Audio (I3DA 2023). Alma Mater Studiorum \u2013 University of Bologna, Bologna, Italy.September 5-7, 2023<\/em>. DOI: <a href=\"https:\/\/doi.org\/10.1109\/I3DA57090.2023.10289188\" target=\"_blank\" rel=\"noopener\">https:\/\/doi.org\/10.1109\/I3DA57090.2023.10289188<\/a>. <a href=\"https:\/\/diposit.ub.edu\/dspace\/handle\/2445\/203657\" target=\"_blank\" rel=\"noopener\">Go to publication &gt;<\/a><\/p>\n<p>&nbsp;<\/p>\n<p>[\/et_pb_text][\/et_pb_column][et_pb_column type=\u00bb1_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2023\/12\/IEEE.jpg\u00bb title_text=\u00bbIEEE\u00bb _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb width=\u00bb100%\u00bb max_width=\u00bb60%\u00bb][\/et_pb_image][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\u00bb3_4,1_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_margin=\u00bb0px||0px||false|false\u00bb custom_padding=\u00bb0px||||false|false\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_column type=\u00bb3_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_text _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb]<\/p>\n<p><strong><\/strong><\/p>\n<p><strong>L\u00f3pez-Mochales, S.; Alvarez-Morales, L.; Santos da Rosa, N.; D\u00edaz-Andreu, M. &amp; Escera, C.<\/strong> 2023. Psychoacoustics of Rock Art Sites: the Case Study of the Shelters Diosa I and Horadada (C\u00e1diz, Spain). In\u00a0 <em>International Conference \u2013 Immersive and 3D Audio (I3DA 2023). Alma Mater Studiorum \u2013 University of Bologna, Bologna, Italy.September 5-7, 2023<\/em>: 1-8. DOI: <a href=\"https:\/\/doi.org\/10.1109\/I3DA57090.2023.10289519\">https:\/\/doi.org\/10.1109\/I3DA57090.2023.10289519<\/a>. <a href=\"https:\/\/diposit.ub.edu\/dspace\/handle\/2445\/203659\" target=\"_blank\" rel=\"noopener\">Go to publication &gt;<\/a><\/p>\n<p>&nbsp;<\/p>\n<p>[\/et_pb_text][\/et_pb_column][et_pb_column type=\u00bb1_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2023\/12\/IEEE.jpg\u00bb title_text=\u00bbIEEE\u00bb _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb width=\u00bb60%\u00bb][\/et_pb_image][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\u00bb3_4,1_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_margin=\u00bb0px||0px||false|false\u00bb custom_padding=\u00bb0px||||false|false\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_column type=\u00bb3_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_text _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb]<\/p>\n<p><strong><\/strong><\/p>\n<p><strong>D\u00edaz-Andreu, M.; Rozwadowski, A.; Jim\u00e9nez Pasalodos, R.; Ben\u00edtez-Arag\u00f3n, D.; Santos da Rosa, N. &amp; Alvarez Morales, L.<\/strong> 2023. Music and storytelling at rock art sites? The archaeoacoustics of the Urkosh area (Russian Altai). <em>Open Archaeology [Special Issue: D\u00edaz-Andreu, M. &amp; N. Santos da Rosa (eds.) <\/em><em>Past Sounds: New Perspectives in the Field of Archaeoacoustics]<\/em> 9 (1): art. 20220327. 10.1515\/opar-2022-0327. DOI: <a href=\"https:\/\/doi.org\/10.1515\/opar-2022-0327\" target=\"_blank\" rel=\"noopener\">https:\/\/doi.org\/10.1515\/opar-2022-0327<\/a>. <a href=\"https:\/\/www.degruyter.com\/document\/doi\/10.1515\/opar-2022-0327\/html\" target=\"_blank\" rel=\"noopener\">Go to publication &gt;<\/a><\/p>\n<p>[\/et_pb_text][\/et_pb_column][et_pb_column type=\u00bb1_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2023\/12\/Open_Archaeology.jpg\u00bb title_text=\u00bbOpen_Archaeology\u00bb _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb width=\u00bb77%\u00bb][\/et_pb_image][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\u00bb3_4,1_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_margin=\u00bb0px||0px||false|false\u00bb custom_padding=\u00bb0px||||false|false\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_column type=\u00bb3_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_text _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb]<\/p>\n<p><strong><\/strong><\/p>\n<p><strong>L\u00f3pez-Mochales, S.; Aparicio-Terr\u00e9s, R.; D\u00edaz-Andreu, M. &amp; Escera, C.<\/strong> 2023. Acoustic perception and emotion evocation by rock art soundscapes of Altai (Russia). <em>Frontiers in Psychology<\/em> 14: art. 1188567. <a href=\"https:\/\/www.frontiersin.org\/articles\/10.3389\/fpsyg.2023.1188567\" target=\"_blank\" rel=\"noopener\">10.3389\/fpsyg.2023.1188567<\/a><\/p>\n<p>[\/et_pb_text][\/et_pb_column][et_pb_column type=\u00bb1_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2023\/10\/Frontiers-in-Psychology-1.jpg\u00bb title_text=\u00bbFrontiers-in-Psychology-1&#8243; _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb][\/et_pb_image][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\u00bb3_4,1_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_margin=\u00bb0px||0px||false|false\u00bb custom_padding=\u00bb0px||||false|false\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_column type=\u00bb3_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_text _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb]<\/p>\n<p><strong><\/strong><\/p>\n<p><strong>Alvarez-Morales, L., Santos da Rosa, N., Ben\u00edtez-Arag\u00f3n, D., Fern\u00e1ndez Mac\u00edas, L., Lazarich, M., &amp; D\u00edaz-Andreu, M.<\/strong> (2023). The Bacinete main shelter: a prehistoric theatre? <em>Acoustics<\/em>, 5, 299-319. <a href=\"https:\/\/doi.org\/https:\/\/doi.org\/10.3390\/acoustics5010018\" target=\"_blank\" rel=\"noopener\">https:\/\/doi.org\/10.3390\/acoustics5010018<\/a><\/p>\n<p>[\/et_pb_text][\/et_pb_column][et_pb_column type=\u00bb1_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2023\/03\/index-logo_acoustics4.png\u00bb title_text=\u00bbindex-logo_acoustics4&#8243; _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb][\/et_pb_image][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\u00bb3_4,1_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_margin=\u00bb0px||0px||false|false\u00bb custom_padding=\u00bb0px||||false|false\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_column type=\u00bb3_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_text _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb]<\/p>\n<p><strong><span><\/span><\/strong><\/p>\n<p><strong><span>Santos da Rosa, N., Alvarez Morales, L., Martorell Briz, X., Fern\u00e1ndez Mac\u00edas, L. and D\u00edaz-Andreu Garc\u00eda, M. <\/span><\/strong>(2022) The acoustics of aggregation sites: listening to the rock art landscape of Cuevas de la Ara\u00f1a (Spain). <em>Journal of Field Archaeology<\/em> 48 (2), 130-143 <a href=\"https:\/\/doi.org\/10.1080\/00934690.2022.2134964%20\">10.1080\/00934690.2022.2134964<\/a>.<\/p>\n<p>[\/et_pb_text][\/et_pb_column][et_pb_column type=\u00bb1_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2023\/03\/Journal_of_field_archaeology2.jpg\u00bb title_text=\u00bbJournal_of_field_archaeology2&#8243; _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb][\/et_pb_image][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\u00bb3_4,1_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_margin=\u00bb0px||0px||false|false\u00bb custom_padding=\u00bb0px||||false|false\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_column type=\u00bb3_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_text _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb]<\/p>\n<p><strong><\/strong><\/p>\n<p><strong><\/strong><\/p>\n<p><strong>D\u00edaz-Andreu, M.; Jim\u00e9nez Pasalodos, R.; Rozwadowski, A.; Alvarez Morales, L.; Miklashevich, E. and Santos da Rosa, N. <\/strong>2023: The soundscapes of the Lower Chuya River area, Russian Altai. Ethnographic sources, indigenous ontologies and the archaeoacoustics of rock art sites. <em>Journal of Archaeological Method and Theory<\/em> 30, 335-362, DOI: https:\/\/doi.org\/10.1007\/s10816-022-09562-w. <a href=\"https:\/\/link.springer.com\/article\/10.1007\/s10816-022-09562-w\" target=\"_blank\" rel=\"noopener\">Go to publication &gt;<\/a><\/p>\n<p>&nbsp;<\/p>\n<p>[\/et_pb_text][\/et_pb_column][et_pb_column type=\u00bb1_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2022\/09\/Journal_of_Archaeological_Method_and_Theory-ajustada.jpg\u00bb title_text=\u00bbJournal_of_Archaeological_Method_and_Theory ajustada\u00bb _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb][\/et_pb_image][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb][et_pb_column type=\u00bb4_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb][et_pb_text _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb]<\/p>\n<h3>2022<\/h3>\n<p>[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\u00bb3_4,1_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_margin=\u00bb0px||0px||false|false\u00bb custom_padding=\u00bb0px||||false|false\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_column type=\u00bb3_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_text _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb]<\/p>\n<p><strong><\/strong><\/p>\n<p><span data-contrast=\"auto\"><strong><\/strong><\/span><\/p>\n<p><span data-contrast=\"auto\"><strong>D\u00cdAZ-ANDREU, M., JIM\u00c9NEZ PASALODOS, R., ROZWADOWSKI, A., ALVAREZ MORALES, L., BEN\u00cdTEZ-ARAG\u00d3N, D., MIKLASHEVICH, E. and SANTOS DA ROSA, N.<\/strong> 2022: Paisajes vivos y ontolog\u00edas sonoras en Altai (Siberia, Rusia): el proyecto europeo Artsoundscapes (ERC ref. 787842) ante el reto del contexto intangible del arte rupestre. In <em>Actualidad de la investigaci\u00f3n arqueol\u00f3gica en Espa\u00f1a IV (2021-2022). Conferencias impartidas en el Museo Arqueol\u00f3gico Nacional,<\/em> 165-181. Madrid: Ministerio de Cultura y Deporte<\/span><span data-contrast=\"auto\">. <\/span><a href=\"http:\/\/hdl.handle.net\/2445\/206329\" target=\"_blank\" rel=\"noopener\"><span data-contrast=\"none\">Go to publication<\/span><\/a><\/p>\n<p>[\/et_pb_text][\/et_pb_column][et_pb_column type=\u00bb1_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2022\/10\/2022-10-05_Diaz-Andreu-M_et_al_2022_Paisajes-vivos-y-ontologias-sonoras_IMAGEN.jpg\u00bb title_text=\u00bb2022-10-05_Diaz-Andreu M_et_al_2022_Paisajes vivos y ontologias sonoras_IMAGEN\u00bb _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb][\/et_pb_image][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\u00bb3_4,1_4&#8243; _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb custom_margin=\u00bb0px||0px||false|false\u00bb custom_padding=\u00bb0px||||false|false\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_column type=\u00bb3_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_text _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb]<\/p>\n<p>&nbsp;<\/p>\n<p><strong>GARC\u00cdA ATI\u00c9NZAR, G., BARCIELA GONZ\u00c1LEZ, V., SANTOS DA ROSA, N. and D\u00cdAZ-ANDREU, M.<\/strong> 2022. La modelizaci\u00f3n del paisaje: iconograf\u00eda y percepciones visual y sonora en el arte rupestre macroesquem\u00e1tico. <em>Virtual Archaeology Review<\/em>\u00a013, 81-99, https:\/\/doi.org\/10.4995\/var.2022.16998<a href=\"https:\/\/doi.org\/10.1080\/2159032X.2022.2098653\"><\/a>. <a href=\"https:\/\/doi.org\/10.4995\/var.2022.16998\" target=\"_blank\" rel=\"noopener\">Go to publication &gt;<\/a><\/p>\n<p><strong><\/strong><\/p>\n<p>[\/et_pb_text][\/et_pb_column][et_pb_column type=\u00bb1_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2023\/02\/VAR.jpg\u00bb title_text=\u00bbVAR\u00bb _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb][\/et_pb_image][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\u00bb3_4,1_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_margin=\u00bb0px||0px||false|false\u00bb custom_padding=\u00bb0px||||false|false\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_column type=\u00bb3_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_text _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb]<\/p>\n<p>&nbsp;<\/p>\n<p><strong>COLTOFEAN-ARIZANCU, L., MATTIOLI, T. and D\u00cdAZ-ANDREU, M. <\/strong>2022: Communicating and disseminating rock art research on Facebook: the ERC Artsoundscapes project goes public. <em>Heritage and Society<\/em>\u00a015, 113-39. <a href=\"https:\/\/doi.org\/10.1080\/2159032X.2022.2098653\">https:\/\/doi.org\/10.1080\/2159032X.2022.2098653<\/a>. <a href=\"https:\/\/www.tandfonline.com\/doi\/full\/10.1080\/2159032X.2022.2098653\" target=\"_blank\" rel=\"noopener\">Go to publication &gt;<\/a><\/p>\n<p><strong><\/strong><\/p>\n<p>[\/et_pb_text][\/et_pb_column][et_pb_column type=\u00bb1_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2022\/09\/HeritageSociety-nombre.jpg\u00bb title_text=\u00bbHeritage&#038;Society nombre\u00bb _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb][\/et_pb_image][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\u00bb3_4,1_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_margin=\u00bb0px||0px||false|false\u00bb custom_padding=\u00bb0px||||false|false\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_column type=\u00bb3_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_text _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb]<\/p>\n<p>&nbsp;<\/p>\n<p><strong>MORENO IGLESIAS, D., \u00c1LVAREZ-MORALES, L., SANTOS DA ROSA, N. and D\u00cdAZ-ANDREU, M.<\/strong> 2022: Arte Rupestre: Una Perspectiva Desde Los Paisajes Sonoros. in <em>TecniAc\u00fastica Elche 2022. 53\u00ba Congreso Espa\u00f1ol de Ac\u00fastica y XII Congreso Ib\u00e9rico de Ac\u00fastica (Elche)<\/em> <a href=\"https:\/\/documentacion.sea-acustica.es\/publicaciones\/Elche22\/ID-153.pdf\" target=\"_blank\" rel=\"noopener\">Go to publication &gt;<\/a><\/p>\n<p><strong><\/strong><\/p>\n<p>[\/et_pb_text][\/et_pb_column][et_pb_column type=\u00bb1_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2023\/02\/Techniacustica.jpg\u00bb title_text=\u00bbTechniacustica\u00bb _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb][\/et_pb_image][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\u00bb3_4,1_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_margin=\u00bb0px||0px||false|false\u00bb custom_padding=\u00bb0px||||false|false\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_column type=\u00bb3_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_text _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb]<\/p>\n<p><strong><\/strong><\/p>\n<p><strong><\/strong><\/p>\n<p><strong>L\u00d3PEZ-MOCHALES, S., JIM\u00c9NEZ-PASALODOS, R., VALENZUELA, J., GUTI\u00c9RREZ-CAJARAVILLE, C., D\u00cdAZ-ANDREU, M. and ESCERA, <\/strong>C. 2022: Experimental enhancement of feelings of transcendence, tenderness and expressiveness by music in Christian liturgical spaces. <em>Frontiers in Psychology<\/em> 13, art. 844029. DOI: <a href=\"https:\/\/doi.org\/10.3389\/fpsyg.2022.844029\">https:\/\/doi.org\/10.3389\/fpsyg.2022.844029<\/a>. <a href=\"https:\/\/www.frontiersin.org\/articles\/10.3389\/fpsyg.2022.844029\/full?&amp;utm_source=Email_to_authors_&amp;utm_medium=Email&amp;utm_content=T1_11.5e1_author&amp;utm_campaign=Email_publication&amp;field=&amp;journalName=Frontiers_in_Psychology&amp;id=844029\" target=\"_blank\" rel=\"noopener\">Go to publication &gt;<\/a><\/p>\n<p>[\/et_pb_text][\/et_pb_column][et_pb_column type=\u00bb1_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2022\/09\/Frontiers-in-Psychology-ajustada.jpg\u00bb title_text=\u00bbFrontiers in Psychology ajustada\u00bb _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb][\/et_pb_image][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\u00bb3_4,1_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_margin=\u00bb0px||0px||false|false\u00bb custom_padding=\u00bb0px||||false|false\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_column type=\u00bb3_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_text _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb]<\/p>\n<p><strong><\/strong><\/p>\n<p><strong><\/strong><\/p>\n<p><strong>D\u00cdAZ-ANDREU, M., FERN\u00c1NDEZ MAC\u00cdAS, L. and SANTOS DA ROSA, N. <\/strong>2022. Danzando sobre las rocas: la identificaci\u00f3n de una pr\u00e1ctica cultural inmaterial en la zona meridional del Arte Levantino. In VI\u00d1AS I VALLVERD\u00da, R. (ed.), II Jornades Internacionals d\u2019Art Prehist\u00f2ric de l\u2019Arc Mediterrani de la Pen\u00ednsula Ib\u00e8rica. (Montblanc), 199-216. <a href=\"https:\/\/diposit.ub.edu\/dspace\/handle\/2445\/206364\" target=\"_blank\" rel=\"noopener\">Go to publication &gt;<\/a><\/p>\n<p>[\/et_pb_text][\/et_pb_column][et_pb_column type=\u00bb1_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2023\/02\/danzando.jpg\u00bb title_text=\u00bbdanzando\u00bb _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb][\/et_pb_image][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb][et_pb_column type=\u00bb4_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb][et_pb_text _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb]<\/p>\n<h3>2021<\/h3>\n<p>[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\u00bb3_4,1_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_margin=\u00bb0px||0px||false|false\u00bb custom_padding=\u00bb0px||||false|false\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_column type=\u00bb3_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_text _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb hover_enabled=\u00bb0&#8243; sticky_enabled=\u00bb0&#8243;]<\/p>\n<p><strong><\/strong><\/p>\n<p><strong><\/strong><\/p>\n<p><span style=\"color: #2b2929; font-family: Roboto, Helvetica, Arial, Lucida, sans-serif; font-size: 15px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 500; letter-spacing: normal; orphans: 2; text-align: left; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; background-color: #ffffff; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; display: inline !important; float: none;\">JIM\u00c9NEZ PASALODOS, R. 2021: La investigaci\u00f3n reciente en arqueolog\u00eda musical. In VVAA (ed.), <span data-contrast=\"auto\"><em>Actualidad de la investigaci\u00f3n arqueol\u00f3gica en Espa\u00f1a III (2020-2021). Conferencias impartidas en el Museo Arqueol\u00f3gico Nacional,<\/em><\/span>, 393-406. <a href=\"http:\/\/www.man.es\/man\/dam\/jcr:a6ee7107-f821-4a29-875d-ee6f6135350d\/2021-aae-ciclo-iii.pdf\" target=\"_blank\" rel=\"noopener\">Go to publication &gt;<\/a><\/span><\/p>\n<p>[\/et_pb_text][\/et_pb_column][et_pb_column type=\u00bb1_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2022\/09\/Jimenez_Pasalodos-R-2021-ajustada.jpg\u00bb title_text=\u00bbJimenez_Pasalodos R 2021 ajustada\u00bb _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb][\/et_pb_image][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\u00bb3_4,1_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_margin=\u00bb0px||0px||false|false\u00bb custom_padding=\u00bb0px||||false|false\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_column type=\u00bb3_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_text _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb]<\/p>\n<p><strong><\/strong><\/p>\n<p><strong><\/strong><strong style=\"box-sizing: border-box; margin: 0px; padding: 0px; border: 0px; outline: 0px; font-size: 15px; text-size-adjust: 100%; vertical-align: baseline; background: #ffffff; font-weight: bold; color: #2b2929; font-family: Roboto, Helvetica, Arial, Lucida, sans-serif; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; letter-spacing: normal; orphans: 2; text-align: left; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;\">LLED\u00d3 HERN\u00c1NDEZ, D.<\/strong><span style=\"color: #2b2929; font-family: Roboto, Helvetica, Arial, Lucida, sans-serif; font-size: 15px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 500; letter-spacing: normal; orphans: 2; text-align: left; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; background-color: #ffffff; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; display: inline !important; float: none;\"><span>\u00a0<\/span>(2021)<\/span><em style=\"box-sizing: border-box; margin: 0px; padding: 0px; border: 0px; outline: 0px; font-size: 15px; text-size-adjust: 100%; vertical-align: baseline; background: #ffffff; font-style: italic; color: #2b2929; font-family: Roboto, Helvetica, Arial, Lucida, sans-serif; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 500; letter-spacing: normal; orphans: 2; text-align: left; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;\">.<span>\u00a0<\/span><i style=\"box-sizing: border-box; margin: 0px; padding: 0px; border: 0px; outline: 0px; font-size: 15px; text-size-adjust: 100%; vertical-align: baseline; background: transparent; font-style: italic;\">Instrumentos sonoros en la prehistoria y protohistoria del nordeste peninsular<\/i><span style=\"box-sizing: border-box; margin: 0px; padding: 0px; border: 0px; outline: 0px; font-size: 15px; text-size-adjust: 100%; vertical-align: baseline; background: transparent;\">.\u00a0 Barcelona:<span>\u00a0<\/span><\/span><\/em><span style=\"color: #2b2929; font-family: Roboto, Helvetica, Arial, Lucida, sans-serif; font-size: 15px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 500; letter-spacing: normal; orphans: 2; text-align: left; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; background-color: #ffffff; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; display: inline !important; float: none;\">Universitat de Barcelona. Treball Final de Grau d\u2019Arqueologia. <a href=\"http:\/\/diposit.ub.edu\/dspace\/bitstream\/2445\/183079\/1\/LLED%C3%93_HERN%C3%81NDEZ_DAVID_TFG-ARQ%202020-2021.pdf%20\" target=\"_blank\" rel=\"noopener\">Go to publication &gt;<\/a><\/span><\/p>\n<p>[\/et_pb_text][\/et_pb_column][et_pb_column type=\u00bb1_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2022\/09\/Lledo_logoDD_ajustado.jpg\u00bb title_text=\u00bbLledo_logoDD_ajustado\u00bb _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb][\/et_pb_image][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\u00bb3_4,1_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_margin=\u00bb0px||0px||false|false\u00bb custom_padding=\u00bb0px||||false|false\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_column type=\u00bb3_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_text _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb]<\/p>\n<p><strong><\/strong><\/p>\n<p><strong><\/strong><\/p>\n<p><strong>ALARC\u00d3N-JIM\u00c9NEZ, ANA MAR\u00cdA, JIM\u00c9NEZ PASALODOS, RAQUEL and D\u00cdAZ-ANDREU, MARGARITA<\/strong><span> (2021). A Glimpse Behind Closed Doors. Alfred L. Kroeber and the Representation of Native Californian Music.<span>\u00a0<\/span><\/span><em style=\"box-sizing: border-box; margin: 0px; padding: 0px; border: 0px; outline: 0px; font-size: 15px; text-size-adjust: 100%; vertical-align: baseline; background: #ffffff; font-style: italic; color: #2b2929; font-family: Roboto, Helvetica, Arial, Lucida, sans-serif; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 500; letter-spacing: normal; orphans: 2; text-align: left; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;\">History and Anthropology. <\/em><a href=\"https:\/\/doi.org\/10.1080\/02757206.2021.1983561\">https:\/\/doi.org\/10.1080\/02757206.2021.1983561<\/a>. <a href=\"https:\/\/www.tandfonline.com\/doi\/full\/10.1080\/02757206.2021.1983561\" target=\"_blank\" rel=\"noopener\"> Go to publication &gt;<\/a><\/p>\n<p>[\/et_pb_text][\/et_pb_column][et_pb_column type=\u00bb1_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2022\/09\/Historyanthropology.jpg\u00bb title_text=\u00bbHistory&#038;anthropology\u00bb _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb][\/et_pb_image][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\u00bb3_4,1_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_margin=\u00bb0px||0px||false|false\u00bb custom_padding=\u00bb0px||||false|false\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_column type=\u00bb3_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_text _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb]<\/p>\n<p><strong><\/strong><\/p>\n<p><strong><\/strong><\/p>\n<p><strong><\/strong><\/p>\n<p><span style=\"box-sizing: border-box; margin: 0px; padding: 0px; border: 0px; outline: 0px; font-size: 15px; text-size-adjust: 100%; vertical-align: baseline; background: #ffffff; color: #2b2929; font-family: Roboto, Helvetica, Arial, Lucida, sans-serif; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 500; letter-spacing: normal; orphans: 2; text-align: left; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;\"><b style=\"box-sizing: border-box; margin: 0px; padding: 0px; border: 0px; outline: 0px; font-size: 15px; text-size-adjust: 100%; vertical-align: baseline; background: #ffffff; color: #2b2929; font-family: Roboto, Helvetica, Arial, Lucida, sans-serif; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; letter-spacing: normal; orphans: 2; text-align: left; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;\">SANTOS DA ROSA, N., FERN\u00c1NDEZ MAC\u00cdAS, L., MATTIOLI, T. and D\u00cdAZ-ANDREU, M.<\/b>\u00a0(2021). Dance scenes in Levantine Rock Art (Spain): a critical review.\u00a0<i style=\"box-sizing: border-box; margin: 0px; padding: 0px; border: 0px; outline: 0px; font-size: 15px; text-size-adjust: 100%; vertical-align: baseline; background: #ffffff; font-style: italic; color: #2b2929; font-family: Roboto, Helvetica, Arial, Lucida, sans-serif; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 500; letter-spacing: normal; orphans: 2; text-align: left; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;\"><span style=\"box-sizing: border-box; margin: 0px; padding: 0px; border: 0px; outline: 0px; font-size: 15px; text-size-adjust: 100%; vertical-align: baseline; background: transparent;\">Oxford Journal of Archaeology,<\/span><\/i> 40 (4),<span>\u00a0<\/span>342-66.<span>\u00a0<\/span><a href=\"https:\/\/doi.org\/10.1111\/ojoa.12228\" style=\"box-sizing: border-box; margin: 0px; padding: 0px; border: 0px; outline: 0px; font-size: 15px; text-size-adjust: 100%; vertical-align: baseline; background: transparent; color: #10509e; text-decoration: underline;\">https:\/\/doi.org\/10.1111\/ojoa.12228<\/a>.<\/span> <a href=\"https:\/\/onlinelibrary.wiley.com\/doi\/epdf\/10.1111\/ojoa.12228\">Go to publication &gt;<\/a><\/p>\n<p>[\/et_pb_text][\/et_pb_column][et_pb_column type=\u00bb1_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2022\/09\/OUP-cover-ajustada.jpg\u00bb title_text=\u00bbojoa_40_3_Cover.indd\u00bb _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb][\/et_pb_image][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\u00bb3_4,1_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_margin=\u00bb0px||0px||false|false\u00bb custom_padding=\u00bb0px||||false|false\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_column type=\u00bb3_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_text _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb]<\/p>\n<p><strong><\/strong><\/p>\n<p><strong><\/strong><\/p>\n<p><strong><\/strong><\/p>\n<p><strong style=\"box-sizing: border-box; margin: 0px; padding: 0px; border: 0px; outline: 0px; font-size: 15px; text-size-adjust: 100%; vertical-align: baseline; background: #ffffff; font-weight: bold; color: #2b2929; font-family: Roboto, Helvetica, Arial, Lucida, sans-serif; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; letter-spacing: normal; orphans: 2; text-align: left; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;\">ALARC\u00d3N-JIM\u00c9NEZ, A.M., JIM\u00c9NEZ PASALODOS, R. and D\u00cdAZ-ANDREU, M.<\/strong><span style=\"color: #2b2929; font-family: Roboto, Helvetica, Arial, Lucida, sans-serif; font-size: 15px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 500; letter-spacing: normal; orphans: 2; text-align: left; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; background-color: #ffffff; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; display: inline !important; float: none;\"><span>\u00a0<\/span>(2021). Mapping with\/in. Hearing Power in Yokuts Landscapes at the Beginning of the Twentieth Century.<span>\u00a0<\/span><\/span><em style=\"box-sizing: border-box; margin: 0px; padding: 0px; border: 0px; outline: 0px; font-size: 15px; text-size-adjust: 100%; vertical-align: baseline; background: #ffffff; font-style: italic; color: #2b2929; font-family: Roboto, Helvetica, Arial, Lucida, sans-serif; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 500; letter-spacing: normal; orphans: 2; text-align: left; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;\">Ethnomusicology Forum<\/em><span style=\"color: #2b2929; font-family: Roboto, Helvetica, Arial, Lucida, sans-serif; font-size: 15px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 500; letter-spacing: normal; orphans: 2; text-align: left; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; background-color: #ffffff; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; display: inline !important; float: none;\"><span>\u00a0<\/span><\/span><span style=\"box-sizing: border-box; margin: 0px; padding: 0px; border: 0px; outline: 0px; font-size: 15px; text-size-adjust: 100%; vertical-align: baseline; background: #ffffff; color: #2b2929; font-family: Roboto, Helvetica, Arial, Lucida, sans-serif; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 500; letter-spacing: normal; orphans: 2; text-align: left; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;\">30,<\/span><span style=\"box-sizing: border-box; margin: 0px; padding: 0px; border: 0px; outline: 0px; font-size: 15px; text-size-adjust: 100%; vertical-align: baseline; background: #ffffff; color: #2b2929; font-family: Roboto, Helvetica, Arial, Lucida, sans-serif; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 500; letter-spacing: normal; orphans: 2; text-align: left; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;\"><span>\u00a0<\/span>379-96.<\/span> <a href=\"https:\/\/www.tandfonline.com\/doi\/pdf\/10.1080\/17411912.2021.1953392?needAccess=true%20\" target=\"_blank\" rel=\"noopener\">Go to publication &gt;<\/a><\/p>\n<p>[\/et_pb_text][\/et_pb_column][et_pb_column type=\u00bb1_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2022\/09\/Alarcon-et-al-2021-Ethnom.jpg\u00bb title_text=\u00bbAlarcon et al 2021 Ethnom\u00bb _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb][\/et_pb_image][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\u00bb3_4,1_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_margin=\u00bb0px||0px||false|false\u00bb custom_padding=\u00bb0px||||false|false\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_column type=\u00bb3_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_text _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb]<\/p>\n<p><strong><\/strong><\/p>\n<p><strong><\/strong><\/p>\n<p><strong><\/strong><\/p>\n<p><strong><\/strong><strong>JIM\u00c9NEZ PASALODOS, R., ALARC\u00d3N JIM\u00c9NEZ, A.M., SANTOS DA ROSA, N. and D\u00cdAZ-ANDREU, M.<\/strong> (2021). Los sonidos de la Prehistoria: Reflexiones en torno a las evidencias de pr\u00e1cticas musicales del paleol\u00edtico y el neol\u00edtico en Eurasia.\u202f<em> V\u00ednculos de la Historia <\/em>10, 17-37. DOI: 10.18239\/vdh_2021.10.01. <a href=\"http:\/\/vinculosdehistoria.com\/index.php\/vinculos\/article\/view\/vdh_2021.10.01\" target=\"_blank\" rel=\"noopener\">Go to publication &gt;<\/a><\/p>\n<p>[\/et_pb_text][\/et_pb_column][et_pb_column type=\u00bb1_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2022\/09\/Vinculos-de-historia-ajustada.jpg\u00bb title_text=\u00bbVinculos de historia ajustada\u00bb _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb][\/et_pb_image][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\u00bb3_4,1_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_margin=\u00bb0px||0px||false|false\u00bb custom_padding=\u00bb0px||||false|false\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_column type=\u00bb3_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_text _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb]<\/p>\n<p><strong><\/strong><\/p>\n<p><strong><\/strong><\/p>\n<p><strong>SANTOS DA ROSA, N., FERN\u00c1NDEZ MAC\u00cdAS, L. AND D\u00cdAZ-ANDREU, M. <\/strong> (2021). Las escenas de danza en el arte rupestre levantino del Bajo Arag\u00f3n y Maestrazgo: una s\u00edntesis cr\u00edtica. <em> Zephyrus <\/em>87, 15-31. DOI: 10.14201\/zephyrus2021871531. <a href=\"https:\/\/revistas.usal.es\/index.php\/0514-7336\/article\/view\/zephyrus2021871531\" target=\"_blank\" rel=\"noopener\">Go to publication &gt;<\/a><\/p>\n<p>[\/et_pb_text][\/et_pb_column][et_pb_column type=\u00bb1_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2022\/09\/Zephyrus-ajustada-1.jpg\u00bb title_text=\u00bbZephyrus ajustada\u00bb _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb][\/et_pb_image][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\u00bb3_4,1_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_margin=\u00bb0px||0px||false|false\u00bb custom_padding=\u00bb0px||||false|false\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_column type=\u00bb3_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_text _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb]<\/p>\n<p><strong><\/strong><\/p>\n<p><strong><\/strong><\/p>\n<p><strong>D\u00cdAZ-ANDREU, M., GUTI\u00c9RREZ MART\u00cdNEZ, M.de la L., MATTIOLI, T., PICAS, M., VILLALOBOS, C. and ZUBIETA, L.F.<\/strong> (2021).\u202fThe soundscapes of Baja California Sur: preliminary results from the\u202fCa\u00f1\u00f3n\u202fde Santa Teresa rock art landscape.\u202f<em>Quaternary International<\/em> 572, 166-177. <a href=\"https:\/\/doi.org\/10.1016\/j.quaint.2020.02.026\">https:\/\/doi.org\/10.1016\/j.quaint.2020.02.026<\/a>. <a href=\"https:\/\/www.sciencedirect.com\/science\/article\/pii\/S1040618220300689\" target=\"_blank\" rel=\"noopener\">Go to publication &gt;<\/a><\/p>\n<p>[\/et_pb_text][\/et_pb_column][et_pb_column type=\u00bb1_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2022\/09\/Quaternary-Internac-ajustada.jpg\u00bb title_text=\u00bbQuaternary Internac ajustada\u00bb _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb][\/et_pb_image][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=\u00bb1&#8243; _builder_version=\u00bb4.9.2&#8243; _module_preset=\u00bb08d8243f-4ddc-4cfb-866e-5cdc3ce56dee\u00bb custom_margin=\u00bb||-4%||false|false\u00bb][et_pb_row _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb][et_pb_column type=\u00bb4_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb][et_pb_text _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb]<\/p>\n<h3>2020<\/h3>\n<p>[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\u00bb3_4,1_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_margin=\u00bb0px||0px||false|false\u00bb custom_padding=\u00bb0px||||false|false\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_column type=\u00bb3_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_text _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb]<\/p>\n<p><strong><span class=\"TextRun SCXW52247479 BCX0\" xml:lang=\"ES-ES\" data-contrast=\"auto\" lang=\"ES-ES\"><span class=\"NormalTextRun SCXW52247479 BCX0\"><\/span><\/span><\/strong><\/p>\n<p><strong><span class=\"TextRun SCXW52247479 BCX0\" xml:lang=\"ES-ES\" data-contrast=\"auto\" lang=\"ES-ES\"><span class=\"NormalTextRun SCXW52247479 BCX0\"><\/span><\/span><\/strong><\/p>\n<p><strong><span class=\"TextRun SCXW52247479 BCX0\" xml:lang=\"ES-ES\" data-contrast=\"auto\" lang=\"ES-ES\"><span class=\"NormalTextRun SCXW52247479 BCX0\">VALENZUELA, <\/span><\/span><span class=\"TextRun SCXW52247479 BCX0\" xml:lang=\"ES-ES\" data-contrast=\"auto\" lang=\"ES-ES\"><span class=\"SpellingError SCXW52247479 BCX0\">JOS\u00c9<\/span><\/span><span class=\"TextRun SCXW52247479 BCX0\" xml:lang=\"ES-ES\" data-contrast=\"auto\" lang=\"ES-ES\"><span class=\"NormalTextRun SCXW52247479 BCX0\">, D\u00cdAZ-ANDREU, MARGARITA and <\/span><\/span><span class=\"TextRun SCXW52247479 BCX0\" xml:lang=\"ES-ES\" data-contrast=\"auto\" lang=\"ES-ES\"><span class=\"SpellingError SCXW52247479 BCX0\">ESCERA<\/span><\/span><span class=\"TextRun SCXW52247479 BCX0\" xml:lang=\"ES-ES\" data-contrast=\"auto\" lang=\"ES-ES\"><span class=\"NormalTextRun SCXW52247479 BCX0\">, CARLES <\/span><\/span><\/strong><span class=\"TextRun SCXW52247479 BCX0\" xml:lang=\"ES-ES\" data-contrast=\"auto\" lang=\"ES-ES\"><span class=\"NormalTextRun SCXW52247479 BCX0\">(<\/span><\/span><span class=\"TextRun SCXW52247479 BCX0\" xml:lang=\"ES-ES\" data-contrast=\"auto\" lang=\"ES-ES\"><span class=\"NormalTextRun SCXW52247479 BCX0\">2020<\/span><\/span><span class=\"TextRun SCXW52247479 BCX0\" xml:lang=\"ES-ES\" data-contrast=\"auto\" lang=\"ES-ES\"><span class=\"NormalTextRun SCXW52247479 BCX0\">)<\/span><\/span><span class=\"TextRun SCXW52247479 BCX0\" xml:lang=\"ES-ES\" data-contrast=\"auto\" lang=\"ES-ES\"><span class=\"NormalTextRun SCXW52247479 BCX0\">.\u00a0<\/span><\/span><span class=\"TextRun SCXW52247479 BCX0\" xml:lang=\"EN-US\" data-contrast=\"auto\" lang=\"EN-US\"><span class=\"NormalTextRun SCXW52247479 BCX0\">Psychology Meets Archaeology: <\/span><\/span><span class=\"TextRun SCXW52247479 BCX0\" xml:lang=\"EN-US\" data-contrast=\"auto\" lang=\"EN-US\"><span class=\"SpellingError SCXW52247479 BCX0\">Psychoarchaeoacoustics<\/span><\/span><span class=\"TextRun SCXW52247479 BCX0\" xml:lang=\"EN-US\" data-contrast=\"auto\" lang=\"EN-US\"><span class=\"NormalTextRun SCXW52247479 BCX0\"> for Understanding Ancient Minds and Their Relationship to the Sacred. <\/span><\/span><em><span class=\"TextRun SCXW52247479 BCX0\" xml:lang=\"ES-ES\" data-contrast=\"auto\" lang=\"ES-ES\"><span class=\"SpellingError SCXW52247479 BCX0\">Frontiers<\/span><\/span><span class=\"TextRun SCXW52247479 BCX0\" xml:lang=\"ES-ES\" data-contrast=\"auto\" lang=\"ES-ES\"><span class=\"NormalTextRun SCXW52247479 BCX0\">\u00a0in\u00a0<\/span><\/span><span class=\"TextRun SCXW52247479 BCX0\" xml:lang=\"ES-ES\" data-contrast=\"auto\" lang=\"ES-ES\"><span class=\"SpellingError SCXW52247479 BCX0\">Psychology<\/span><\/span><\/em><span class=\"TextRun SCXW52247479 BCX0\" xml:lang=\"ES-ES\" data-contrast=\"auto\" lang=\"ES-ES\"><span class=\"NormalTextRun SCXW52247479 BCX0\"><em>\u00a0<\/em>11:\u00a0<\/span><\/span><span class=\"TextRun SCXW52247479 BCX0\" xml:lang=\"ES-ES\" data-contrast=\"auto\" lang=\"ES-ES\"><span class=\"SpellingError SCXW52247479 BCX0\">Article<\/span><\/span><span class=\"TextRun SCXW52247479 BCX0\" xml:lang=\"ES-ES\" data-contrast=\"auto\" lang=\"ES-ES\"><span class=\"NormalTextRun SCXW52247479 BCX0\">\u00a0550794.<\/span><\/span><span class=\"EOP SCXW52247479 BCX0\" data-ccp-props=\"{}\">\u00a0 <a href=\"https:\/\/www.frontiersin.org\/articles\/10.3389\/fpsyg.2020.550794\/full\" target=\"_blank\" rel=\"noopener\">Go to publication &gt;<\/a><br \/><\/span><\/p>\n<p>[\/et_pb_text][\/et_pb_column][et_pb_column type=\u00bb1_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2022\/09\/Frontiers-in-Psychology-ajustada.jpg\u00bb title_text=\u00bbFrontiers in Psychology ajustada\u00bb _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb][\/et_pb_image][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\u00bb3_4,1_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_margin=\u00bb0px||0px||false|false\u00bb custom_padding=\u00bb0px||||false|false\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_column type=\u00bb3_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_text _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb]<\/p>\n<p><strong><\/strong><\/p>\n<p><strong><\/strong><\/p>\n<p><strong>JIM\u00c9NEZ PASALODOS, RAQUEL<\/strong> (2020). <em>La m\u00fasica. Los primeros instrumentos sonoros<\/em>. Colecci\u00f3n Origen. Cuadernos Atapuerca 17.\u00a0 Burgos, Diario de Atapuerca.<\/p>\n<p>[\/et_pb_text][\/et_pb_column][et_pb_column type=\u00bb1_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2022\/09\/Cuadernos_Atapuerca-ajustada.jpg\u00bb title_text=\u00bbCuadernos_Atapuerca ajustada\u00bb _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb][\/et_pb_image][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\u00bb3_4,1_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_margin=\u00bb0px||0px||false|false\u00bb custom_padding=\u00bb0px||||false|false\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_column type=\u00bb3_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_text _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb]<\/p>\n<p><strong><\/strong><\/p>\n<p><strong><\/strong><\/p>\n<p><strong><\/strong><\/p>\n<p><strong>D\u00cdAZ-ANDREU, M. and T. MATTIOLI<\/strong> (2020): D\u017awi\u0119kowe krajobrazy sztuki naskalnej: badaj\u0105c relacje mi\u0119dzy \u2013 d\u017awi\u0119kiem a obrazem. Archeologia \u017bywa [Rozwadowski, A. (ed.)Zapisane na ska\u0142ach (Written on the rocks)] 1, 66-73. <a href=\"https:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2021\/02\/Diaz-AndreuM__MattioliT_2020_Z%CC%87ywa-archeologia-compress2.pdf\" target=\"_blank\" rel=\"noopener\">Go to publication &gt;<\/a><\/p>\n<p>[\/et_pb_text][\/et_pb_column][et_pb_column type=\u00bb1_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2022\/09\/polaco2.jpg\u00bb title_text=\u00bbpolaco2&#8243; _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb][\/et_pb_image][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\u00bb3_4,1_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_margin=\u00bb0px||0px||false|false\u00bb custom_padding=\u00bb0px||||false|false\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_column type=\u00bb3_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_text _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb]<\/p>\n<p><strong><\/strong><\/p>\n<p><strong><\/strong><\/p>\n<p><strong><\/strong><\/p>\n<p><strong>JIM\u00c9NEZ PASALODOS, R. and R. RAINIO<\/strong> (2020): Missing Membranophones? Traditional Drumbeaters in Northern Eurasia and Possible Prehistoric Parallels in European Archaeological Collections. ICTM Music Archaeology 3, 233-276. <a href=\"https:\/\/www.academia.edu\/43116971\/Missing_Membranophones_Traditional_Drumbeaters_in_Northern_Eurasia_and_Possible_Prehistoric_Parallels_in_European_Archaeological_Collections._ICTM_Music_Archaeology_3_233-276\" target=\"_blank\" rel=\"noopener\">Go to publication &gt;<\/a><\/p>\n<p>[\/et_pb_text][\/et_pb_column][et_pb_column type=\u00bb1_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2022\/09\/ictm.jpg\u00bb title_text=\u00bbictm\u00bb _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb][\/et_pb_image][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=\u00bb1&#8243; _builder_version=\u00bb4.9.2&#8243; _module_preset=\u00bb08d8243f-4ddc-4cfb-866e-5cdc3ce56dee\u00bb][et_pb_row _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb][et_pb_column type=\u00bb4_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb][et_pb_text _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb]<\/p>\n<h3>2019<\/h3>\n<p>[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\u00bb3_4,1_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_margin=\u00bb0px||0px||false|false\u00bb custom_padding=\u00bb0px||||false|false\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_column type=\u00bb3_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_text _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb]<\/p>\n<p><strong><\/strong><\/p>\n<p><strong><\/strong><\/p>\n<p><strong>JIM\u00c9NEZ PASALODOS, R.<\/strong> (2019): Una posible boquilla de bucina de cuerno en el Ager turiasonense. <em>Turiaso<\/em> XXIV, 9-23. <a href=\"https:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2021\/02\/Arti%CC%81culo-Turiaso-compress2.pdf\" target=\"_blank\" rel=\"noopener\">Go to publication &gt;<\/a><\/p>\n<p>[\/et_pb_text][\/et_pb_column][et_pb_column type=\u00bb1_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2022\/09\/cropped-logo-cet-2.jpg\u00bb title_text=\u00bbcropped-logo-cet-2&#8243; _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb][\/et_pb_image][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\u00bb3_4,1_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_margin=\u00bb0px||0px||false|false\u00bb custom_padding=\u00bb0px||||false|false\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_column type=\u00bb3_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_text _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb]<\/p>\n<p><strong><\/strong><\/p>\n<p><strong><\/strong><\/p>\n<p><strong>SANTOS DA ROSA, N.<\/strong> (2019): Tecnolog\u00eda rupestre: una perspectiva te\u00f3rico-metodol\u00f3gica para el estudio del arte levantino, in <em>I Jornades Internacionals d\u2019Art Rupestre de l\u2019Arc Mediterrani de la Pen\u00ednsula Ib\u00e8rica. XX\u00e8 Aniversari de la Declaraci\u00f3 de Patrimoni Mundial<\/em>, <em>Montblanc, 25-27\u00a0d\u2019octubre, 2019<\/em>, coord. R. Vi\u00f1as i Vallverd\u00fa. Montblanc: Centre d\u2019Interpretaci\u00f3 de l\u2019Art Rupestre de les Muntanyes de Prades (CIAR), 481-496. <a href=\"https:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2021\/02\/Santos_daRosaN_2020_Tecnologia_Rupestre_ACTAS_MONTBLANC-compress.pdf\" target=\"_blank\" rel=\"noopener\">Go to publication &gt;<\/a><\/p>\n<p>[\/et_pb_text][\/et_pb_column][et_pb_column type=\u00bb1_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2022\/09\/07_thumbnail.jpg\u00bb title_text=\u00bb07_thumbnail\u00bb _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb][\/et_pb_image][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\u00bb3_4,1_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_margin=\u00bb0px||0px||false|false\u00bb custom_padding=\u00bb0px||||false|false\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_column type=\u00bb3_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_text _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb]<\/p>\n<p><strong><\/strong><\/p>\n<p><strong><\/strong><\/p>\n<p><strong>D\u00cdAZ-ANDREU, M., L. COLTOFEAN, R. VI\u00d1AS, and T. MATTIOLI<\/strong> (2019): Sonidos del pasado: arte rupestre y ac\u00fastica en las Muntanyes de Prades, in <em>I\u00a0Jornades\u00a0Internacionals\u00a0d\u2019Art\u00a0Rupestre de\u00a0l\u2019Arc\u00a0Mediterrani\u00a0de la Pen\u00ednsula\u00a0Ib\u00e8rica.\u00a0XX\u00e8\u00a0Aniversari\u00a0de la\u00a0Declaraci\u00f3\u00a0de Patrimoni Mundial,\u00a0Montblanc, 25-27\u00a0d\u2019octubre, 2019<\/em>, coord. R. Vi\u00f1as i Vallverd\u00fa. Montblanc: Centre d\u2019Interpretaci\u00f3 de l\u2019Art Rupestre de les Muntanyes de Prades (CIAR), 321-339. <a href=\"https:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2021\/02\/Diaz-AndreuM_et_al_2020_Arte_rupestre_y_acustica_en_las_Muntanyes_de_Prades_Tarragona-compress2.pdf\" target=\"_blank\" rel=\"noopener\">Go to publication &gt;<\/a><\/p>\n<p>[\/et_pb_text][\/et_pb_column][et_pb_column type=\u00bb1_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2022\/09\/07_thumbnail.jpg\u00bb title_text=\u00bb07_thumbnail\u00bb _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb][\/et_pb_image][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\u00bb3_4,1_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_margin=\u00bb0px||0px||false|false\u00bb custom_padding=\u00bb0px||||false|false\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_column type=\u00bb3_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_text _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb]<\/p>\n<p><strong><\/strong><\/p>\n<p><strong><\/strong><\/p>\n<p><strong>ALARC\u00d3N-JIM\u00c9NEZ, A.M. and M. D\u00cdAZ-ANDREU<\/strong> (2019): Los paralelos etnogr\u00e1ficos sobre chamanismo y ac\u00fastica entre los yokuts: una reflexi\u00f3n hist\u00f3rica sobre la (ausencia de) interacci\u00f3n entre la antropolog\u00eda y el estudio del arte rupestre, in <em>Sociedades prehist\u00f3ricas y manifestaciones art\u00edsticas. Im\u00e1genes, nuevas propuestas e interpretaciones<\/em>, eds. G. Garc\u00eda Ati\u00e9nzar and V. Barciela Gonz\u00e1lez. Colecci\u00f3n Petracos 2. Alicante: Instituto Universitario de Investigaci\u00f3n en Arqueolog\u00eda y Patrimonio Hist\u00f3rico de la Universidad de Alicante \u2013 INAPH, 231-246. <a href=\"http:\/\/rua.ua.es\/dspace\/handle\/10045\/99047\" target=\"_blank\" rel=\"noopener\">Go to publication &gt;<\/a><\/p>\n<p>[\/et_pb_text][\/et_pb_column][et_pb_column type=\u00bb1_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2022\/09\/03-410_otro2.jpg\u00bb title_text=\u00bb03-410_otro2&#8243; _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb][\/et_pb_image][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\u00bb3_4,1_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_margin=\u00bb0px||0px||false|false\u00bb custom_padding=\u00bb0px||||false|false\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_column type=\u00bb3_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_text _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb]<\/p>\n<p><strong><\/strong><\/p>\n<p><strong><\/strong><\/p>\n<p><strong>MATTIOLI, T., G. GARC\u00cdA ATI\u00c9NZAR, V. BARCIELA GONZ\u00c1LEZ and M. D\u00cdAZ-ANDREU<\/strong> (2019): Escuchar con los ojos: la aplicaci\u00f3n del GIS al estudio del campo visual y sonoro en los paisajes de arte rupestre de la monta\u00f1a alicantina, in <em>Sociedades prehist\u00f3ricas y manifestaciones art\u00edsticas. Im\u00e1genes, nuevas propuestas e interpretaciones<\/em>, eds. G. Garc\u00eda Ati\u00e9nzar and V. Barciela Gonz\u00e1lez. Colecci\u00f3n Petracos 2. Alicante: Instituto Universitario de Investigaci\u00f3n en Arqueolog\u00eda y Patrimonio Hist\u00f3rico de la Universidad de Alicante \u2013 INAPH, 285-301. <a href=\"http:\/\/rua.ua.es\/dspace\/handle\/10045\/99047\" target=\"_blank\" rel=\"noopener\">Go to publication &gt;<\/a><\/p>\n<p>[\/et_pb_text][\/et_pb_column][et_pb_column type=\u00bb1_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2022\/09\/03-410_otro2.jpg\u00bb title_text=\u00bb03-410_otro2&#8243; _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb][\/et_pb_image][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\u00bb3_4,1_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_margin=\u00bb0px||0px||false|false\u00bb custom_padding=\u00bb0px||||false|false\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_column type=\u00bb3_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_text _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb]<\/p>\n<p><strong><\/strong><\/p>\n<p><strong><\/strong><\/p>\n<p><strong>VALENZUELA, J., C. ESCERA, and M. D\u00cdAZ-ANDREU<\/strong> (2019): Arqueolog\u00eda, psicoac\u00fastica y arte rupestre: escuchando el pasado con ayuda del m\u00e9todo cient\u00edfico, in <em>Sociedades prehist\u00f3ricas y manifestaciones art\u00edsticas. Im\u00e1genes, nuevas propuestas e interpretaciones<\/em>, eds. G. Garc\u00eda Ati\u00e9nzar and V. Barciela Gonz\u00e1lez. Colecci\u00f3n Petracos 2. Alicante: Instituto Universitario de Investigaci\u00f3n en Arqueolog\u00eda y Patrimonio Hist\u00f3rico de la Universidad de Alicante \u2013 INAPH, 247-252. <a href=\"http:\/\/rua.ua.es\/dspace\/handle\/10045\/99047\" target=\"_blank\" rel=\"noopener\">Go to publication &gt;<\/a><\/p>\n<p>[\/et_pb_text][\/et_pb_column][et_pb_column type=\u00bb1_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2022\/09\/03-410_otro2.jpg\u00bb title_text=\u00bb03-410_otro2&#8243; _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb][\/et_pb_image][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\u00bb3_4,1_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_margin=\u00bb0px||0px||false|false\u00bb custom_padding=\u00bb0px||||false|false\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_column type=\u00bb3_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_text _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb custom_padding=\u00bb||0px|||\u00bb]<\/p>\n<p><strong><\/strong><\/p>\n<p><strong><\/strong><\/p>\n<p><strong>MATTIOLI, T<\/strong>. Arte rupestre postpaleol\u00edtico al sur de los Alpes: el registro art\u00edstico de la pen\u00ednsula italiana. in <em>Sociedades prehist\u00f3ricas y manifestaciones art\u00edsticas. Im\u00e1genes, nuevas propuestas e interpretaciones<\/em>, eds. G. Garc\u00eda Ati\u00e9nzar and V. Barciela Gonz\u00e1lez. Colecci\u00f3n Petracos 2. Alicante: Instituto Universitario de Investigaci\u00f3n en Arqueolog\u00eda y Patrimonio Hist\u00f3rico de la Universidad de Alicante \u2013 INAPH, 247-252. <a href=\"http:\/\/rua.ua.es\/dspace\/handle\/10045\/99047\" target=\"_blank\" rel=\"noopener\">Go to publication &gt;<\/a><\/p>\n<p>[\/et_pb_text][\/et_pb_column][et_pb_column type=\u00bb1_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2022\/09\/03-410_otro2.jpg\u00bb title_text=\u00bb03-410_otro2&#8243; _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb][\/et_pb_image][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\u00bb3_4,1_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_margin=\u00bb0px||0px||false|false\u00bb custom_padding=\u00bb0px||||false|false\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_column type=\u00bb3_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_text _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb]<\/p>\n<p><strong>D\u00cdAZ-ANDREU, M., A. FARINA, E. ARMELLONI, L. COLTOFEAN, M. PICAS and T. MATTIOLI<\/strong> (2019): Acoustic effects at prehistoric landscapes: an archaeoacoustics analysis of rock art sites from Western Mediterranean, in Proceedings of the 23rd International Congress on Acoustics, 281-287. <a href=\"https:\/\/www.semanticscholar.org\/paper\/Acoustic-effects-at-prehistoric-landscapes%3A-an-of-D%C3%ADaz%E2%80%90Andreu-Farina\/e9d06904db3a9d1f4355778f83ddd571732084d0\" target=\"_blank\" rel=\"noopener\">Go to publication &gt;<\/a><\/p>\n<p>[\/et_pb_text][\/et_pb_column][et_pb_column type=\u00bb1_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2022\/09\/01-150&#215;150.jpg\u00bb title_text=\u00bb01&#8243; _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb][\/et_pb_image][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\u00bb3_4,1_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_margin=\u00bb0px||0px||false|false\u00bb custom_padding=\u00bb0px||||false|false\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_column type=\u00bb3_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_text _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb]<\/p>\n<p><strong>FARINA, A., M. D\u00cdAZ-ANDREU, E. ARMELLONI, M. PICAS, L.F. ZUBIETA and T. MATTIOLI<\/strong> (2019): Digitalizing the sounds of the past: the soundscapes of World Heritage rock art landscapes from Spain and Mexico, in Proceedings of the 23rd International Congress on Acoustics, 4214 &#8211; 4218. <a href=\"https:\/\/www.semanticscholar.org\/paper\/Digitalizing-the-sounds-of-the-past-%3A-the-of-World-Farina-D%C3%ADaz%E2%80%90Andreu\/f4bc90c8fc96d0042717503aaaa6e9c01dee07e2\" target=\"_blank\" rel=\"noopener\">Go to publication &gt;<\/a><\/p>\n<p>[\/et_pb_text][\/et_pb_column][et_pb_column type=\u00bb1_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2022\/09\/01-150&#215;150.jpg\u00bb title_text=\u00bb01&#8243; _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb][\/et_pb_image][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=\u00bb1&#8243; _builder_version=\u00bb4.9.2&#8243; _module_preset=\u00bb08d8243f-4ddc-4cfb-866e-5cdc3ce56dee\u00bb][et_pb_row _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb][et_pb_column type=\u00bb4_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb][et_pb_text _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb]<\/p>\n<h2>PUBLICATIONS FROM RESEARCH UNDERTAKEN BEFORE THE PROJECT STARTED<br \/>\u00a0<\/h2>\n<p>[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb locked=\u00bboff\u00bb][et_pb_column type=\u00bb4_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb][et_pb_text _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb]<\/p>\n<h3>2019<\/h3>\n<p>[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_margin=\u00bb0px||0px||false|false\u00bb custom_padding=\u00bb0px||||false|false\u00bb border_color_left=\u00bb#EA5A01&#8243; locked=\u00bboff\u00bb][et_pb_column type=\u00bb4_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_text _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb]<\/p>\n<p><strong>D\u00cdAZ-ANDREU, M. and T. MATTIOLI (2019)<\/strong>: \u00abRock Art, music and acoustics: a global overview\u00bb, in <em>The Oxford Handbook of the Archaeology and Anthropology of Rock Art<\/em>, eds. B. David and I. J. McNiven. Oxford: Oxford University Press, 503-528.<\/p>\n<p>[\/et_pb_text][et_pb_button button_url=\u00bbhttps:\/\/www.oxfordhandbooks.com\/view\/10.1093\/oxfordhb\/9780190607357.001.0001\/oxfordhb-9780190607357-e-8&#8243; url_new_window=\u00bbon\u00bb button_text=\u00bbAccess here\u00bb _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbtext-decoration:none;\u00bb][\/et_pb_button][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_margin=\u00bb0px||0px||false|false\u00bb custom_padding=\u00bb0px||||false|false\u00bb border_color_left=\u00bb#EA5A01&#8243; locked=\u00bboff\u00bb][et_pb_column type=\u00bb4_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_text _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb]<\/p>\n<p><strong>D\u00cdAZ-ANDREU, M., P. HAMEAU and T. MATTIOLI<\/strong> (2019): Des sites \u00e0 voir et \u00e0 entendre: les abris a motifs sch\u00e9matiques de la falaise de Baume Brune (Vaucluse). <em>L&#8217;Anthropologie<\/em> 123, 66-99.<\/p>\n<p>[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=\u00bb1&#8243; _builder_version=\u00bb4.9.2&#8243; _module_preset=\u00bb08d8243f-4ddc-4cfb-866e-5cdc3ce56dee\u00bb][et_pb_row _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb][et_pb_column type=\u00bb4_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb][et_pb_text _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb locked=\u00bboff\u00bb]<\/p>\n<h3>2018<\/h3>\n<p>[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_margin=\u00bb0px||0px||false|false\u00bb custom_padding=\u00bb0px||||false|false\u00bb border_color_left=\u00bb#EA5A01&#8243; locked=\u00bboff\u00bb][et_pb_column type=\u00bb4_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_text _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb]<\/p>\n<p><strong>JIM\u00c9NEZ PASALODOS, R. and P. P. HOLME<\/strong>S (2018): \u00abThe Aulos and the Trumpet: Music, Gender and Elites in Iberian Culture (4th to 1st Centuries BCE),\u00bb in The Study of Musical Performance in Antiquity. <em>Archaeology and Written Sources<\/em>, eds. A. Garcia-Ventura, C. Tavolieri and L. Verderame. Newcaslte: Cambridge Scholars Publishing, 173-206.<\/p>\n<p>[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_margin=\u00bb0px||0px||false|false\u00bb custom_padding=\u00bb0px||||false|false\u00bb border_color_left=\u00bb#EA5A01&#8243; locked=\u00bboff\u00bb][et_pb_column type=\u00bb4_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_text _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb]<\/p>\n<p><strong>WEIG, D<\/strong>. (2018): \u201cResonating with different worlds: how Baka musical practices generate sociality, identities and connection to ritual spirits,\u201d in Making Music, <em>Making Society<\/em> eds. J. Mart\u00ed and S. Revilla G\u00fatiez. Newcastle: Cambridge Scholars.<\/p>\n<p>[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=\u00bb1&#8243; _builder_version=\u00bb4.9.2&#8243; _module_preset=\u00bb08d8243f-4ddc-4cfb-866e-5cdc3ce56dee\u00bb][et_pb_row _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb][et_pb_column type=\u00bb4_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb][et_pb_text _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb locked=\u00bboff\u00bb]<\/p>\n<h3>2017<\/h3>\n<p>[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_margin=\u00bb0px||0px||false|false\u00bb custom_padding=\u00bb0px||||false|false\u00bb border_color_left=\u00bb#EA5A01&#8243; locked=\u00bboff\u00bb][et_pb_column type=\u00bb4_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_text _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb]<\/p>\n<p><strong>D\u00cdAZ-ANDREU, M., G. GARC\u00cdA ATI\u00c9NZAR, C. GARC\u00cdA BENITO and T. MATTIOLI<\/strong> (2017): Do you hear what I see? Analyzing visibility and audibility through alternative methods in the rock art landscape of the Alicante mountains. <em>Journal of Anthropological Research<\/em> 73(2), 181-213.<\/p>\n<p>[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_margin=\u00bb0px||0px||false|false\u00bb custom_padding=\u00bb0px||||false|false\u00bb border_color_left=\u00bb#EA5A01&#8243; locked=\u00bboff\u00bb][et_pb_column type=\u00bb4_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_text _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb]<\/p>\n<p><strong>FAZENDA, B., C. SCARRE, R. TILL, R. JIM\u00c9NEZ PASALODOS, M. ROJO GUERRA, C. TEJEDOR, R. ONTA\u00d1ON PEREDO, A. WATSON, S. WYATT, C. GARC\u00cdA BENITO, H. DRINKALL and F. FOULDS<\/strong> (2017): Cave acoustics in prehistory: Exploring the association of Palaeolithic visual motifs and acoustic response.\u00a0<em>The Journal of the Acoustical Society of America<\/em>\u00a0142, 1332-1349.<\/p>\n<p>[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_margin=\u00bb0px||0px||false|false\u00bb custom_padding=\u00bb0px||||false|false\u00bb border_color_left=\u00bb#EA5A01&#8243; locked=\u00bboff\u00bb][et_pb_column type=\u00bb4_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_text _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb]<\/p>\n<p><strong>MATTIOLI, T. and M. D\u00cdAZ-ANDREU<\/strong> (2017): Hearing rock art landscapes. A survey of the acoustical perception in the Sierra de San Serv\u00e1n area in Extremadura (Spain). <em>Time and Mind<\/em> 10(1), 81-96.<\/p>\n<p>[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_margin=\u00bb0px||0px||false|false\u00bb custom_padding=\u00bb0px||||false|false\u00bb border_color_left=\u00bb#EA5A01&#8243; locked=\u00bboff\u00bb][et_pb_column type=\u00bb4_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_text _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb]<\/p>\n<p><strong>MATTIOLI, T., A. FARINA, E. ARMELLONI, P. HAMEAU and M. D\u00cdAZ-ANDREU<\/strong> (2017): Echoing landscapes: echolocation and the placement of rock art in the Central Mediterranean. <em>Journal of Archaeological Science<\/em> 83, 12-25.<\/p>\n<p>[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_margin=\u00bb0px||0px||false|false\u00bb custom_padding=\u00bb0px||||false|false\u00bb border_color_left=\u00bb#EA5A01&#8243; locked=\u00bboff\u00bb][et_pb_column type=\u00bb4_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_text _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb]<\/p>\n<p><strong>COSTA-FAIDELLA, J., E. S. SUSSMAN and C. ESCERA<\/strong> (2017): Selective entrainment of brain oscillations drives auditory perceptual organization. <em>NeuroImage<\/em> 159, 195 &#8211; 206.<\/p>\n<p>[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_margin=\u00bb0px||0px||false|false\u00bb custom_padding=\u00bb0px||||false|false\u00bb border_color_left=\u00bb#EA5A01&#8243; locked=\u00bboff\u00bb][et_pb_column type=\u00bb4_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_text _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb]<\/p>\n<p><strong>L\u00d3PEZ-CABALLERO, F. and C. ESCERA<\/strong> (2017): Binaural beat: A failure to enhance EEG power and emotional arousal. <em>Frontiers in Human Neuroscience<\/em> 11, 557.<\/p>\n<p>[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=\u00bb1&#8243; _builder_version=\u00bb4.9.2&#8243; _module_preset=\u00bb08d8243f-4ddc-4cfb-866e-5cdc3ce56dee\u00bb][et_pb_row _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb][et_pb_column type=\u00bb4_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb][et_pb_text _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb locked=\u00bboff\u00bb]<\/p>\n<h3>2016<\/h3>\n<p>[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_margin=\u00bb0px||0px||false|false\u00bb custom_padding=\u00bb0px||||false|false\u00bb border_color_left=\u00bb#EA5A01&#8243; locked=\u00bboff\u00bb][et_pb_column type=\u00bb4_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_text _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb]<\/p>\n<p><strong>D\u00cdAZ-ANDREU, M. and T. MATTIOLI<\/strong> (2016): \u00abArchaeoacoustics of rock art: quantitative approaches to the acoustics and soundscape of rock art,\u00bb in CAA 2015. <em>Keep the revolution going<\/em>, eds. S. Campana, R. Scopigno, G. Carpetiero and T. Cirillo. Oxford: Archaeopress, 1049-1058.<\/p>\n<p>[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_margin=\u00bb0px||0px||false|false\u00bb custom_padding=\u00bb0px||||false|false\u00bb border_color_left=\u00bb#EA5A01&#8243; locked=\u00bboff\u00bb][et_pb_column type=\u00bb4_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_text _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb]<\/p>\n<p><strong>JIM\u00c9NEZ PASALODOS, R. and A. BILL<\/strong> (2016): \u00abMusic and Identities Al-Andalus Clay Drums and the Study of Popular Musical Behaviors Through the Archaeological Record,\u00bb in <em>Studien zur Musikarch\u00e4ologie X<\/em>, eds. R. Eichmann, F. Jinjuan and L.-C. Koch. DAI Orient Arch\u00e4ologie, 83-102.<\/p>\n<p>[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_margin=\u00bb0px||0px||false|false\u00bb custom_padding=\u00bb0px||||false|false\u00bb border_color_left=\u00bb#EA5A01&#8243; locked=\u00bboff\u00bb][et_pb_column type=\u00bb4_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_text _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb]<\/p>\n<p><strong>AGHAMOLAEI, M., K. ZARNOWIEC, S. GRIMM and C. ESCERA<\/strong> (2016): Functional dissociation between regularity encoding and deviance detection along the auditory hierarchy. <em>European Journal of Neuroscience<\/em> 43, 529-535<\/p>\n<p>[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_margin=\u00bb0px||0px||false|false\u00bb custom_padding=\u00bb0px||||false|false\u00bb border_color_left=\u00bb#EA5A01&#8243; locked=\u00bboff\u00bb][et_pb_column type=\u00bb4_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_text _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb]<\/p>\n<p><strong>SELINGER, L., K. ZARNOWIEK, M. VIA, I. C. CLEMENTE and C. ESCERA<\/strong> (2016): Involvement of the serotonin transporter gene in accurate subcortical speech encoding. <em>Journal of Neuroscience<\/em> 36(42), 10782 &#8211; 10790<\/p>\n<p>[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=\u00bb1&#8243; _builder_version=\u00bb4.9.2&#8243; _module_preset=\u00bb08d8243f-4ddc-4cfb-866e-5cdc3ce56dee\u00bb][et_pb_row _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb][et_pb_column type=\u00bb4_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb][et_pb_text _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb locked=\u00bboff\u00bb]<\/p>\n<h3>2015<\/h3>\n<p>[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_margin=\u00bb0px||0px||false|false\u00bb custom_padding=\u00bb0px||||false|false\u00bb border_color_left=\u00bb#EA5A01&#8243; locked=\u00bboff\u00bb][et_pb_column type=\u00bb4_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_text _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb]<\/p>\n<p><strong>D\u00cdAZ-ANDREU, M. and C. GARC\u00cdA BENITO<\/strong> (2015): Acoustic rock art landscapes: a comparison between the acoustics of three Levantine rock art areas in Mediterranean Spain. <em>Rock Art Research<\/em> 32(1), 46-62.<\/p>\n<p>[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_margin=\u00bb0px||0px||false|false\u00bb custom_padding=\u00bb0px||||false|false\u00bb border_color_left=\u00bb#EA5A01&#8243; locked=\u00bboff\u00bb][et_pb_column type=\u00bb4_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_text _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb]<\/p>\n<p><strong>D\u00cdAZ-ANDREU, M., C. GARC\u00cdA BENITO and T. MATTIOLI<\/strong> (2015): Arqueoac\u00fastica, un nuevo enfoque en los estudios arqueol\u00f3gicos de la Pen\u00ednsula Ib\u00e9rica. La Linde 5, 14-38<\/p>\n<p>[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_margin=\u00bb0px||0px||false|false\u00bb custom_padding=\u00bb0px||||false|false\u00bb border_color_left=\u00bb#EA5A01&#8243; locked=\u00bboff\u00bb][et_pb_column type=\u00bb4_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_text _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb]<\/p>\n<p><strong>WEIG, D.<\/strong> (2015): Social change mirrored in Baka dance and movement. Observations from the River Ivindo in Gabon in 2011. <em>Hunter Gatherer Research<\/em> 1(1).<\/p>\n<p>[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_margin=\u00bb0px||0px||false|false\u00bb custom_padding=\u00bb0px||||false|false\u00bb border_color_left=\u00bb#EA5A01&#8243; locked=\u00bboff\u00bb][et_pb_column type=\u00bb4_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_text _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb]<\/p>\n<p><strong>WEIG, D.<\/strong> (2015): Sardana and castellers: moving bodies and cultural politics in Catalonia. <em>Social Anthropology\/Anthropologie Sociale<\/em> 23(4), 435-449.<\/p>\n<p>[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=\u00bb1&#8243; _builder_version=\u00bb4.9.2&#8243; _module_preset=\u00bb08d8243f-4ddc-4cfb-866e-5cdc3ce56dee\u00bb][et_pb_row _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb][et_pb_column type=\u00bb4_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb][et_pb_text _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb locked=\u00bboff\u00bb]<\/p>\n<h3>2014<\/h3>\n<p>[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_margin=\u00bb0px||0px||false|false\u00bb custom_padding=\u00bb0px||||false|false\u00bb border_color_left=\u00bb#EA5A01&#8243; locked=\u00bboff\u00bb][et_pb_column type=\u00bb4_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_text _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb]<\/p>\n<p><strong>D\u00cdAZ-ANDREU, M., C. GARC\u00cdA BENITO and M. LAZARICH<\/strong> (2014): The sound of rock art: the acoustics of the rock art of southern Andalusia (Spain). <em>Oxford Journal of Archaeology<\/em> 33(1), 1-18.<\/p>\n<p>[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_margin=\u00bb0px||0px||false|false\u00bb custom_padding=\u00bb0px||||false|false\u00bb border_color_left=\u00bb#EA5A01&#8243; locked=\u00bboff\u00bb][et_pb_column type=\u00bb4_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_text _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb]<\/p>\n<p><strong>RECASENS, M., S. GRIMM, A. CAPILLA, R. NOWAK and C. ESCERA<\/strong> (2014): Two sequential processes of change detection in hierarchically ordered areas of the human auditory cortex. Cerebral Cortex 24, 143-153.<\/p>\n<p>[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=\u00bb1&#8243; _builder_version=\u00bb4.9.2&#8243; _module_preset=\u00bb08d8243f-4ddc-4cfb-866e-5cdc3ce56dee\u00bb][et_pb_row _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb][et_pb_column type=\u00bb4_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb][et_pb_text _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb locked=\u00bboff\u00bb]<\/p>\n<h3>2013<\/h3>\n<p>[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_margin=\u00bb0px||0px||false|false\u00bb custom_padding=\u00bb0px||||false|false\u00bb border_color_left=\u00bb#EA5A01&#8243; locked=\u00bboff\u00bb][et_pb_column type=\u00bb4_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_text _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb]<\/p>\n<p><strong>BILL, A., R. JIM\u00c9NEZ PASALODOS and C. GARC\u00cdA BENITO<\/strong> (2013): \u00abA Classification of Clay Drums from al-Andalus (9th-14th Centuries AD),\u00bb in\u00a0<em>SOMA 2012. Identity and Connectivity. Proceedings of the 16th Symposium on Mediterranean Archaeology, Florence, Italy, 1\u20133 March 2012. Vol. II<\/em>, eds. L. Bombardieri, A. D\u2019agostino, G. Guarducci, V. Orsi and S. Valentini. Oxford: Archaeopress, 1097-1104.<\/p>\n<p>[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_margin=\u00bb0px||0px||false|false\u00bb custom_padding=\u00bb0px||||false|false\u00bb border_color_left=\u00bb#EA5A01&#8243; locked=\u00bboff\u00bb][et_pb_column type=\u00bb4_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_text _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb]<\/p>\n<p><strong>D\u00cdAZ-ANDREU, M. and C. GARC\u00cdA BENITO<\/strong> (2013): \u00abSound and ritual in Levantine art: a preliminary study,\u00bb in <em>Music and Ritual: Bridging Material and Living Cultures<\/em>, eds. R. Jim\u00e9nez Pasalodos, R. Till and M. Howell. Berlin: Ekho Verlag, 227-256.<\/p>\n<p>[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_margin=\u00bb0px||0px||false|false\u00bb custom_padding=\u00bb0px||||false|false\u00bb border_color_left=\u00bb#EA5A01&#8243; locked=\u00bboff\u00bb][et_pb_column type=\u00bb4_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_text _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb]<\/p>\n<p><strong>SELINGER, A. L., J. DOM\u00cdNGUEZ-BORR\u00c0S and C. ESCERA<\/strong> (2013): Phasic boosting of auditory processing by visually induced emotion. <em>Biological Psychology<\/em> 94, 471-478.<\/p>\n<p>[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=\u00bb1&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb][et_pb_row _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb][et_pb_column type=\u00bb4_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb][et_pb_text _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb locked=\u00bboff\u00bb]<\/p>\n<h3>2012<\/h3>\n<p>[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_margin=\u00bb0px||0px||false|false\u00bb custom_padding=\u00bb0px||||false|false\u00bb border_color_left=\u00bb#EA5A01&#8243; locked=\u00bboff\u00bb][et_pb_column type=\u00bb4_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_text _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb]<\/p>\n<p><strong>D\u00cdAZ-ANDREU, M. and C. GARC\u00cdA BENITO<\/strong> (2012): Acoustics and Levantine Rock Art: Auditory Perceptions in La Valltorta Gorge (Spain). <em>Journal of Archaeological Science<\/em> 39, 3591 &#8211; 3599.<\/p>\n<p>[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_margin=\u00bb0px||0px||false|false\u00bb custom_padding=\u00bb0px||||false|false\u00bb border_color_left=\u00bb#EA5A01&#8243; locked=\u00bboff\u00bb][et_pb_column type=\u00bb4_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_text _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb]<\/p>\n<p><strong>JIM\u00c9NEZ PASALODOS, R.<\/strong> (2012): \u00abThe Lyres of the Far West. Chordophones in the Bronze Age Warrior Stelae of the Southwest Iberian Peninsula,\u00bb in <em>Sound from the Past. The Interpretation of Musical Artifacts in an Archaeological Context<\/em>, eds. R. Eichmann, F. Jianjung and L.-C. Koch. Rahden, Westf: Deutsches Arch\u00e4ologisches Institut, 215-255.<\/p>\n<p>[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_margin=\u00bb0px||0px||false|false\u00bb custom_padding=\u00bb0px||||false|false\u00bb border_color_left=\u00bb#EA5A01&#8243; locked=\u00bboff\u00bb][et_pb_column type=\u00bb4_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_text _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb]<\/p>\n<p><strong>JIM\u00c9NEZ PASALODOS, R.<\/strong> (2012): \u00abA \u201cphenomenology of soundscape\u201d: archaeoacoustics, landscapes and environment in Music Archaeology,\u00bb in <em>Actas das IV Jornadas de Jovens em Investiga\u00e7\u00e3o Arqueol\u00f3gica &#8211; JIA 2011<\/em> Vol. I (Faro, 11 a 14 da Maio de 2011), eds. J. Cascalheira and C. Gon\u00e7alves. Faro: Universidade do Algarve, 443-446.<\/p>\n<p>[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_margin=\u00bb0px||0px||false|false\u00bb custom_padding=\u00bb0px||||false|false\u00bb border_color_left=\u00bb#EA5A01&#8243; locked=\u00bboff\u00bb][et_pb_column type=\u00bb4_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbpadding-left: 20px;\u00bb border_width_left=\u00bb2px\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_text _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb]<\/p>\n<p><strong>DOM\u00cdNGUEZ-BORR\u00c0S, J., M. GARCIA-GARCIA and C. ESCERA<\/strong> (2012): Phase re-setting of gamma neural oscillations during novelty processing in an appetitive context. <em>Biological Psychology<\/em> 89, 545-552.<\/p>\n<p>[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section]<\/p>\n","protected":false},"excerpt":{"rendered":"<p>[et_pb_section fb_built=\u00bb1&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb background_color=\u00bb#000000&#8243;][et_pb_row _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb][et_pb_column type=\u00bb4_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb][et_pb_text _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb] PUBLICATIONS [\/et_pb_text][et_pb_divider color=\u00bb#EA5A01&#8243; divider_weight=\u00bb3px\u00bb _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb width=\u00bb30%\u00bb][\/et_pb_divider][et_pb_text _builder_version=\u00bb4.9.1&#8243; _module_preset=\u00bbdefault\u00bb text_text_color=\u00bb#FFFFFF\u00bb] Follow the results of the project through the\u00a0articles\u00a0published by\u00a0us\u00a0\u00a0\u00a0 [\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=\u00bb1&#8243; _builder_version=\u00bb4.9.2&#8243; _module_preset=\u00bb08d8243f-4ddc-4cfb-866e-5cdc3ce56dee\u00bb custom_margin=\u00bb||-4%||false|false\u00bb][et_pb_row _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb][et_pb_column type=\u00bb4_4&#8243; _builder_version=\u00bb4.9.0&#8243; _module_preset=\u00bbdefault\u00bb][et_pb_text _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb] 2026 [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\u00bb3_4,1_4&#8243; _builder_version=\u00bb4.9.3&#8243; _module_preset=\u00bbdefault\u00bb custom_margin=\u00bb0px||0px||false|false\u00bb custom_padding=\u00bb0px||||false|false\u00bb border_color_all=\u00bb#EA5A01&#8243; border_style_all=\u00bbdashed\u00bb border_color_left=\u00bb#EA5A01&#8243;][et_pb_column type=\u00bb3_4&#8243; _builder_version=\u00bb4.9.3&#8243; [&hellip;]<\/p>\n","protected":false},"author":4,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":"<h1>Publications<\/h1>\r\n<h2>2020<\/h2>\r\n<p><strong>D\u00cdAZ-ANDREU, M. and T. MATTIOLI<\/strong> (2020): D\u017awi\u0119kowe\u00a0krajobrazy\u00a0sztuki\u00a0naskalnej:\u00a0badaj\u0105c\u00a0relacje\u00a0mi\u0119dzy\u00a0-\u00a0d\u017awi\u0119kiem\u00a0a\u00a0obrazem.\u00a0<em>Archeologia\u00a0\u017bywa\u00a0[Rozwadowski, A. (ed.)Zapisane\u00a0na\u00a0ska\u0142ach\u00a0(Written on the rocks)]<\/em> 1, 66-73.<\/p>\r\n<p><a role=\"button\" href=\"https:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2020\/04\/Diaz-AndreuM__MattioliT_2020_\u017bywa-archeologia.pdf\" target=\"_blank\" rel=\"noopener noreferrer\"> Access here <\/a><\/p>\r\n<p><b>JIM\u00c9NEZ PASALODOS, R. and R. RAINIO<\/b> (2020): Missing\u00a0Membranophones? Traditional Drumbeaters in Northern Eurasia and Possible Prehistoric Parallels in European Archaeological Collections.\u00a0<em style=\"text-align: justify;\">ICTM\u00a0Music\u00a0Archaeology<\/em>\u00a03, 233-276.\u00a0<strong style=\"text-align: justify;\">Accessible in 2021.<\/strong><\/p>\r\n<h2>2019<\/h2>\r\n<p><strong>JIM\u00c9NEZ PASALODOS, R.<\/strong> (2019): Una posible boquilla de bucina de cuerno en el Ager turiasonense. <em>Turiaso<\/em> XXIV, 9-23.<\/p>\r\n<p><a role=\"button\" href=\"https:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2020\/04\/Art\u00edculo-Turiaso.pdf\" target=\"_blank\" rel=\"noopener noreferrer\"> Access here <\/a><\/p>\r\n<p><strong>SANTOS DA ROSA, N.<\/strong> (2019): Tecnolog\u00eda rupestre: una perspectiva te\u00f3rico-metodol\u00f3gica para el estudio del arte levantino, in <em>I\u00a0Jornades\u00a0Internacionals\u00a0d\u2019Art\u00a0Rupestre de\u00a0l\u2019Arc\u00a0Mediterrani\u00a0de la Pen\u00ednsula\u00a0Ib\u00e8rica.\u00a0XX\u00e8\u00a0Aniversari\u00a0de la\u00a0Declaraci\u00f3\u00a0de Patrimoni Mundial<\/em>, <em>Montblanc, 25-27\u00a0d\u2019octubre, 2019<\/em>, coord. R. Vi\u00f1as i Vallverd\u00fa. Montblanc: Centre d\u2019Interpretaci\u00f3 de l\u2019Art Rupestre de les Muntanyes de Prades (CIAR), 481-496.<\/p>\r\n<p><a role=\"button\" href=\"https:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2020\/04\/Santos_daRosaN_2020_Tecnolog\u00eda_Rupestre_ACTAS_MONTBLANC.pdf\" target=\"_blank\" rel=\"noopener noreferrer\"> Access here <\/a><\/p>\r\n<p><strong>D\u00cdAZ-ANDREU, M., L. COLTOFEAN, R. VI\u00d1AS, and T. MATTIOLI<\/strong> (2019): Sonidos del pasado: arte rupestre y ac\u00fastica en las Muntanyes de Prades, in <em>I\u00a0Jornades\u00a0Internacionals\u00a0d\u2019Art\u00a0Rupestre de\u00a0l\u2019Arc\u00a0Mediterrani\u00a0de la Pen\u00ednsula\u00a0Ib\u00e8rica.\u00a0XX\u00e8\u00a0Aniversari\u00a0de la\u00a0Declaraci\u00f3\u00a0de Patrimoni Mundial,\u00a0Montblanc, 25-27\u00a0d\u2019octubre, 2019<\/em>, coord. R. Vi\u00f1as i Vallverd\u00fa. Montblanc: Centre d\u2019Interpretaci\u00f3 de l\u2019Art Rupestre de les Muntanyes de Prades (CIAR), 321-339.<\/p>\r\n<p><a role=\"button\" href=\"https:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2020\/04\/Diaz-AndreuM_et_al_2020_Arte_rupestre_y_acustica_en_las_Muntanyes_de_Prades_Tarragona.pdf\" target=\"_blank\" rel=\"noopener noreferrer\"> Access here <\/a><\/p>\r\n<p><strong>ALARC\u00d3N-JIM\u00c9NEZ, A.M. and M. D\u00cdAZ-ANDREU<\/strong> (2019): Los paralelos etnogr\u00e1ficos sobre chamanismo y ac\u00fastica entre los yokuts: una reflexi\u00f3n hist\u00f3rica sobre la (ausencia de) interacci\u00f3n entre la antropolog\u00eda y el estudio del arte rupestre, in <em>Sociedades prehist\u00f3ricas y manifestaciones art\u00edsticas. Im\u00e1genes, nuevas propuestas e interpretaciones<\/em>, eds. G. Garc\u00eda Ati\u00e9nzar and V. Barciela Gonz\u00e1lez. Colecci\u00f3n Petracos 2. Alicante: Instituto Universitario de Investigaci\u00f3n en Arqueolog\u00eda y Patrimonio Hist\u00f3rico de la Universidad de Alicante \u2013 INAPH, 231-246.\u00a0<\/p>\r\n<p><a role=\"button\" href=\"http:\/\/rua.ua.es\/dspace\/handle\/10045\/99047\" target=\"_blank\" rel=\"noopener noreferrer\"> Access here <\/a><\/p>\r\n<p><strong>MATTIOLI, T., G. GARC\u00cdA ATI\u00c9NZAR, V. BARCIELA GONZ\u00c1LEZ and M. D\u00cdAZ-ANDREU<\/strong> (2019): Escuchar con los ojos: la aplicaci\u00f3n del GIS al estudio del campo visual y sonoro en los paisajes de arte rupestre de la monta\u00f1a alicantina, in <em>Sociedades prehist\u00f3ricas y manifestaciones art\u00edsticas. Im\u00e1genes, nuevas propuestas e interpretaciones<\/em>, eds. G. Garc\u00eda Ati\u00e9nzar and V. Barciela Gonz\u00e1lez. Colecci\u00f3n Petracos 2. Alicante: Instituto Universitario de Investigaci\u00f3n en Arqueolog\u00eda y Patrimonio Hist\u00f3rico de la Universidad de Alicante \u2013 INAPH, 285-301.<\/p>\r\n<p><a role=\"button\" href=\"http:\/\/rua.ua.es\/dspace\/handle\/10045\/99047\" target=\"_blank\" rel=\"noopener noreferrer\"> Access here <\/a><\/p>\r\n<p><strong>VALENZUELA, J., C. ESCERA, and M. D\u00cdAZ-ANDREU<\/strong> (2019): Arqueolog\u00eda, psicoac\u00fastica y arte rupestre: escuchando el pasado con ayuda del m\u00e9todo cient\u00edfico, in <em>Sociedades prehist\u00f3ricas y manifestaciones art\u00edsticas. Im\u00e1genes, nuevas propuestas e interpretaciones<\/em>, eds. G. Garc\u00eda Ati\u00e9nzar and V. Barciela Gonz\u00e1lez. Colecci\u00f3n Petracos 2. Alicante: Instituto Universitario de Investigaci\u00f3n en Arqueolog\u00eda y Patrimonio Hist\u00f3rico de la Universidad de Alicante \u2013 INAPH, 247-252.<\/p>\r\n<p><a role=\"button\" href=\"http:\/\/rua.ua.es\/dspace\/handle\/10045\/99047\" target=\"_blank\" rel=\"noopener noreferrer\"> Access here <\/a><\/p>\r\n<p><strong>MATTIOLI, T<\/strong>. Arte rupestre postpaleol\u00edtico al sur de los Alpes: el registro art\u00edstico de la pen\u00ednsula italiana. in <em>Sociedades prehist\u00f3ricas y manifestaciones art\u00edsticas. Im\u00e1genes, nuevas propuestas e interpretaciones<\/em>, eds. G. Garc\u00eda Ati\u00e9nzar and V. Barciela Gonz\u00e1lez. Colecci\u00f3n Petracos 2. Alicante: Instituto Universitario de Investigaci\u00f3n en Arqueolog\u00eda y Patrimonio Hist\u00f3rico de la Universidad de Alicante \u2013 INAPH, 247-252.<\/p>\r\n<p><a role=\"button\" href=\"http:\/\/rua.ua.es\/dspace\/handle\/10045\/99047\" target=\"_blank\" rel=\"noopener noreferrer\"> Access here <\/a><\/p>\r\n<p><strong>D\u00cdAZ-ANDREU, M., A. FARINA, E. ARMELLONI, L. COLTOFEAN, M. PICAS and T. MATTIOLI<\/strong> (2019): Acoustic effects at prehistoric landscapes: an archaeoacoustics analysis of rock art sites from Western Mediterranean, in Proceedings of the 23rd International Congress on Acoustics, 281-287.<\/p>\r\n<p><a role=\"button\" href=\"https:\/\/www.semanticscholar.org\/paper\/Acoustic-effects-at-prehistoric-landscapes-%3A-an-of-D%C3%ADaz-Andreu-Farina\/e9d06904db3a9d1f4355778f83ddd571732084d0\" target=\"_blank\" rel=\"noopener noreferrer\"> Access here <\/a><\/p>\r\n<p><strong>FARINA, A., M. D\u00cdAZ-ANDREU, E. ARMELLONI, M. PICAS, L.F. ZUBIETA and T. MATTIOLI<\/strong> (2019): Digitalizing the sounds of the past: the soundscapes of World Heritage rock art landscapes from Spain and Mexico, in Proceedings of the 23rd International Congress on Acoustics, 4214 - 4218.<\/p>\r\n<p><a role=\"button\" href=\"https:\/\/www.semanticscholar.org\/paper\/Digitalizing-the-sounds-of-the-past-%3A-the-of-World-Farina-D%C3%ADaz-Andreu\/f4bc90c8fc96d0042717503aaaa6e9c01dee07e2\" target=\"_blank\" rel=\"noopener noreferrer\"> Access here <\/a><\/p>\r\n<h2>PUBLICATIONS FROM RESEARCH UNDERTAKEN BEFORE THE PROJECT STARTED<\/h2>\r\n<h3>2019<\/h3>\r\n<p><strong>D\u00cdAZ-ANDREU, M. and T. MATTIOLI (2019)<\/strong>: \"Rock Art, music and acoustics: a global overview\", in <em>The Oxford Handbook of the Archaeology and Anthropology of Rock Art<\/em>, eds. B. David and I. J. McNiven. Oxford: Oxford University Press, 503-528.<\/p>\r\n<p><a role=\"button\" href=\"https:\/\/www.oxfordhandbooks.com\/view\/10.1093\/oxfordhb\/9780190607357.001.0001\/oxfordhb-9780190607357-e-8\" target=\"_blank\" rel=\"noopener noreferrer\"> Access here <\/a><\/p>\r\n<p><strong>D\u00cdAZ-ANDREU, M., P. HAMEAU and T. MATTIOLI<\/strong> (2019): Des sites \u00e0 voir et \u00e0 entendre: les abris a motifs sch\u00e9matiques de la falaise de Baume Brune (Vaucluse). <em>L'Anthropologie<\/em> 123, 66-99.<\/p>\r\n<h3>2018<\/h3>\r\n<p><strong>JIM\u00c9NEZ PASALODOS, R. and P. P. HOLME<\/strong>S (2018): \"The Aulos and the Trumpet: Music, Gender and Elites in Iberian Culture (4th to 1st Centuries BCE),\" in The Study of Musical Performance in Antiquity. <em>Archaeology and Written Sources<\/em>, eds. A. Garcia-Ventura, C. Tavolieri and L. Verderame. Newcaslte: Cambridge Scholars Publishing, 173-206.<\/p>\r\n<p style=\"text-align: justify;\"><strong>WEIG, D.<\/strong> (2018): \"Resonating with different worlds: how Baka musical practices generate sociality, identities and connection to ritual spirits,\" in <em>Making Music, Making Society<\/em> eds. J. Mart\u00ed and S. Revilla G\u00fatiez. Newcastle: Cambridge Scholars.<\/p>\r\n<p>\u00a0<\/p>\r\n<h3>2017<\/h3>\r\n<p><strong>D\u00cdAZ-ANDREU, M., G. GARC\u00cdA ATI\u00c9NZAR, C. GARC\u00cdA BENITO and T. MATTIOLI<\/strong> (2017): Do you hear what I see? Analyzing visibility and audibility through alternative methods in the rock art landscape of the Alicante mountains. <em>Journal of Anthropological Research<\/em> 73(2), 181-213.<\/p>\r\n<p><strong>FAZENDA, B., C. SCARRE, R. TILL, R. JIM\u00c9NEZ PASALODOS, M. ROJO GUERRA, C. TEJEDOR, R. ONTA\u00d1ON PEREDO, A. WATSON, S. WYATT, C. GARC\u00cdA BENITO, H. DRINKALL and F. FOULDS<\/strong> (2017): Cave acoustics in prehistory: Exploring the association of Palaeolithic visual motifs and acoustic response.\u00a0<em>The Journal of the Acoustical Society of America<\/em>\u00a0142, 1332-1349.<\/p>\r\n<p><strong>MATTIOLI, T. and M. D\u00cdAZ-ANDREU<\/strong> (2017): Hearing rock art landscapes. A survey of the acoustical perception in the Sierra de San Serv\u00e1n area in Extremadura (Spain). <em>Time and Mind<\/em> 10(1), 81-96.<\/p>\r\n<p><strong>MATTIOLI, T., A. FARINA, E. ARMELLONI, P. HAMEAU and M. D\u00cdAZ-ANDREU<\/strong> (2017): Echoing landscapes: echolocation and the placement of rock art in the Central Mediterranean. <em>Journal of Archaeological Science<\/em> 83, 12-25.<\/p>\r\n<p><strong>COSTA-FAIDELLA, J., E. S. SUSSMAN and C. ESCERA<\/strong> (2017): Selective entrainment of brain oscillations drives auditory perceptual organization. <em>NeuroImage<\/em> 159, 195 - 206.<\/p>\r\n<p><strong>L\u00d3PEZ-CABALLERO, F. and C. ESCERA<\/strong> (2017): Binaural beat: A failure to enhance EEG power and emotional arousal. <em>Frontiers in Human Neuroscience<\/em> 11, 557.<\/p>\r\n<h3>2016<\/h3>\r\n<p><strong>D\u00cdAZ-ANDREU, M. and T. MATTIOLI<\/strong> (2016): \"Archaeoacoustics of rock art: quantitative approaches to the acoustics and soundscape of rock art,\" in CAA 2015. <em>Keep the revolution going<\/em>, eds. S. Campana, R. Scopigno, G. Carpetiero and T. Cirillo. Oxford: Archaeopress, 1049-1058.<\/p>\r\n<p><strong>JIM\u00c9NEZ PASALODOS, R. and A. BILL<\/strong> (2016): \"Music and Identities Al-Andalus Clay Drums and the Study of Popular Musical Behaviors Through the Archaeological Record,\" in <em>Studien zur Musikarch\u00e4ologie X<\/em>, eds. R. Eichmann, F. Jinjuan and L.-C. Koch. DAI Orient Arch\u00e4ologie, 83-102.<\/p>\r\n<p><strong>AGHAMOLAEI, M., K. ZARNOWIEC, S. GRIMM and C. ESCERA<\/strong> (2016): Functional dissociation between regularity encoding and deviance detection along the auditory hierarchy. <em>European Journal of Neuroscience<\/em> 43, 529-535.<\/p>\r\n<p><strong>SELINGER, L., K. ZARNOWIEK, M. VIA, I. C. CLEMENTE and C. ESCERA<\/strong> (2016): Involvement of the serotonin transporter gene in accurate subcortical speech encoding. <em>Journal of Neuroscience<\/em> 36(42), 10782 - 10790<\/p>\r\n<h3>2015<\/h3>\r\n<p><strong>D\u00cdAZ-ANDREU, M. and C. GARC\u00cdA BENITO<\/strong> (2015): Acoustic rock art landscapes: a comparison between the acoustics of three Levantine rock art areas in Mediterranean Spain. <em>Rock Art Research<\/em> 32(1), 46-62.<\/p>\r\n<p><strong>D\u00cdAZ-ANDREU, M., C. GARC\u00cdA BENITO and T. MATTIOLI<\/strong> (2015): Arqueoac\u00fastica, un nuevo enfoque en los estudios arqueol\u00f3gicos de la Pen\u00ednsula Ib\u00e9rica. La Linde 5, 14-38.<\/p>\r\n<p><strong>WEIG, D.<\/strong> (2015): Social change mirrored in Baka dance and movement. Observations from the River Ivindo in Gabon in 2011. <em>Hunter Gatherer Research<\/em> 1(1).<\/p>\r\n<p><strong>WEIG, D.<\/strong> (2015): Sardana and castellers: moving bodies and cultural politics in Catalonia. <em>Social Anthropology\/Anthropologie Sociale<\/em> 23(4), 435-449.<\/p>\r\n<h3>2014<\/h3>\r\n<p><strong>D\u00cdAZ-ANDREU, M., C. GARC\u00cdA BENITO and M. LAZARICH<\/strong> (2014): The sound of rock art: the acoustics of the rock art of southern Andalusia (Spain). <em>Oxford Journal of Archaeology<\/em> 33(1), 1-18.<\/p>\r\n<p><strong>RECASENS, M., S. GRIMM, A. CAPILLA, R. NOWAK and C. ESCERA<\/strong> (2014): Two sequential processes of change detection in hierarchically ordered areas of the human auditory cortex. Cerebral Cortex 24, 143-153.<\/p>\r\n<h3>2013<\/h3>\r\n<p><strong>BILL, A., R. JIM\u00c9NEZ PASALODOS and C. GARC\u00cdA BENITO<\/strong> (2013): \"A Classification of Clay Drums from al-Andalus (9th-14th Centuries AD),\" in\u00a0<em>SOMA 2012. Identity and Connectivity. Proceedings of the 16th Symposium on Mediterranean Archaeology, Florence, Italy, 1\u20133 March 2012. Vol. II<\/em>, eds. L. Bombardieri, A. D\u2019agostino, G. Guarducci, V. Orsi and S. Valentini. Oxford: Archaeopress, 1097-1104.<\/p>\r\n<p><strong>D\u00cdAZ-ANDREU, M. and C. GARC\u00cdA BENITO<\/strong> (2013): \"Sound and ritual in Levantine art: a preliminary study,\" in <em>Music and Ritual: Bridging Material and Living Cultures<\/em>, eds. R. Jim\u00e9nez Pasalodos, R. Till and M. Howell. Berlin: Ekho Verlag, 227-256.<\/p>\r\n<p><strong>JIM\u00c9NEZ PASALODOS, R., R. TILL and M. HOWELL<\/strong> eds. (2013): <em>Music and Ritual: Bridging Material and Living Cultures<\/em>. Berlin: Eknho Verlag.<\/p>\r\n<p><strong>SELINGER, A. L., J. DOM\u00cdNGUEZ-BORR\u00c0S and C. ESCERA<\/strong> (2013): Phasic boosting of auditory processing by visually induced emotion. <em>Biological Psychology<\/em> 94, 471-478.<\/p>\r\n<h3>2012<\/h3>\r\n<p><strong>D\u00cdAZ-ANDREU, M. and C. GARC\u00cdA BENITO<\/strong> (2012): Acoustics and Levantine Rock Art: Auditory Perceptions in La Valltorta Gorge (Spain). <em>Journal of Archaeological Science<\/em> 39, 3591 - 3599.<\/p>\r\n<p><strong>JIM\u00c9NEZ PASALODOS, R.<\/strong> (2012): \"The Lyres of the Far West. Chordophones in the Bronze Age Warrior Stelae of the Southwest Iberian Peninsula,\" in <em>Sound from the Past. The Interpretation of Musical Artifacts in an Archaeological Context<\/em>, eds. R. Eichmann, F. Jianjung and L.-C. Koch. Rahden, Westf: Deutsches Arch\u00e4ologisches Institut, 215-255.<\/p>\r\n<p><strong>JIM\u00c9NEZ PASALODOS, R.<\/strong> (2012): \"A \u201cphenomenology of soundscape\u201d: archaeoacoustics, landscapes and environment in Music Archaeology,\" in <em>Actas das IV Jornadas de Jovens em Investiga\u00e7\u00e3o Arqueol\u00f3gica - JIA 2011<\/em> Vol. I (Faro, 11 a 14 da Maio de 2011), eds. J. Cascalheira and C. Gon\u00e7alves. Faro: Universidade do Algarve, 443-446.<\/p>\r\n<p><!-- wp:tadv\/classic-paragraph --><\/p>\r\n<p style=\"text-align: justify;\">DOM\u00cdNGUEZ-BORR\u00c0S, J., M. GARCIA-GARCIA and C. ESCERA (2012): Phase re-setting of gamma neural oscillations during novelty processing in an appetitive context. <em>Biological Psychology<\/em> 89, 545-552.<\/p>\r\n<p><!-- \/wp:tadv\/classic-paragraph --><\/p>","_et_gb_content_width":"","spay_email":"","_links_to":"","_links_to_target":""},"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v16.0.2 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Publications - Artsoundscapes<\/title>\n<meta name=\"description\" content=\"All publications from the Artsoundscapes project.\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.ub.edu\/artsoundscapes\/publications\/\" \/>\n<meta property=\"og:locale\" content=\"es_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Publications - Artsoundscapes\" \/>\n<meta property=\"og:description\" content=\"All publications from the Artsoundscapes project.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.ub.edu\/artsoundscapes\/publications\/\" \/>\n<meta property=\"og:site_name\" content=\"Artsoundscapes\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/es-es.facebook.com\/artsoundscapes\/\" \/>\n<meta property=\"article:modified_time\" content=\"2026-03-22T20:18:23+00:00\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Tiempo de lectura\">\n\t<meta name=\"twitter:data1\" content=\"11 minutos\">\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Organization\",\"@id\":\"https:\/\/www.ub.edu\/artsoundscapes\/#organization\",\"name\":\"ARTSOUNDSCAPES\",\"url\":\"https:\/\/www.ub.edu\/artsoundscapes\/\",\"sameAs\":[\"https:\/\/es-es.facebook.com\/artsoundscapes\/\",\"https:\/\/www.youtube.com\/channel\/UCL6zi2csvGgwLBI-A5ydeng\"],\"logo\":{\"@type\":\"ImageObject\",\"@id\":\"https:\/\/www.ub.edu\/artsoundscapes\/#logo\",\"inLanguage\":\"es\",\"url\":\"\",\"caption\":\"ARTSOUNDSCAPES\"},\"image\":{\"@id\":\"https:\/\/www.ub.edu\/artsoundscapes\/#logo\"}},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/www.ub.edu\/artsoundscapes\/#website\",\"url\":\"https:\/\/www.ub.edu\/artsoundscapes\/\",\"name\":\"Artsoundscapes\",\"description\":\"The sound of special places: exploring rock art soundscapes and the sacred.\",\"publisher\":{\"@id\":\"https:\/\/www.ub.edu\/artsoundscapes\/#organization\"},\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":\"https:\/\/www.ub.edu\/artsoundscapes\/?s={search_term_string}\",\"query-input\":\"required name=search_term_string\"}],\"inLanguage\":\"es\"},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/www.ub.edu\/artsoundscapes\/publications\/#webpage\",\"url\":\"https:\/\/www.ub.edu\/artsoundscapes\/publications\/\",\"name\":\"Publications - Artsoundscapes\",\"isPartOf\":{\"@id\":\"https:\/\/www.ub.edu\/artsoundscapes\/#website\"},\"datePublished\":\"2019-01-09T11:33:00+00:00\",\"dateModified\":\"2026-03-22T20:18:23+00:00\",\"description\":\"All publications from the Artsoundscapes project.\",\"breadcrumb\":{\"@id\":\"https:\/\/www.ub.edu\/artsoundscapes\/publications\/#breadcrumb\"},\"inLanguage\":\"es\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/www.ub.edu\/artsoundscapes\/publications\/\"]}]},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/www.ub.edu\/artsoundscapes\/publications\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"item\":{\"@type\":\"WebPage\",\"@id\":\"https:\/\/www.ub.edu\/artsoundscapes\/\",\"url\":\"https:\/\/www.ub.edu\/artsoundscapes\/\",\"name\":\"Home\"}},{\"@type\":\"ListItem\",\"position\":2,\"item\":{\"@type\":\"WebPage\",\"@id\":\"https:\/\/www.ub.edu\/artsoundscapes\/publications\/\",\"url\":\"https:\/\/www.ub.edu\/artsoundscapes\/publications\/\",\"name\":\"Publications\"}}]}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","_links":{"self":[{"href":"https:\/\/www.ub.edu\/artsoundscapes\/wp-json\/wp\/v2\/pages\/345"}],"collection":[{"href":"https:\/\/www.ub.edu\/artsoundscapes\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.ub.edu\/artsoundscapes\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.ub.edu\/artsoundscapes\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/www.ub.edu\/artsoundscapes\/wp-json\/wp\/v2\/comments?post=345"}],"version-history":[{"count":141,"href":"https:\/\/www.ub.edu\/artsoundscapes\/wp-json\/wp\/v2\/pages\/345\/revisions"}],"predecessor-version":[{"id":10987,"href":"https:\/\/www.ub.edu\/artsoundscapes\/wp-json\/wp\/v2\/pages\/345\/revisions\/10987"}],"wp:attachment":[{"href":"https:\/\/www.ub.edu\/artsoundscapes\/wp-json\/wp\/v2\/media?parent=345"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}