{"id":8621,"date":"2022-03-23T18:44:29","date_gmt":"2022-03-23T18:44:29","guid":{"rendered":"https:\/\/www.ub.edu\/artsoundscapes\/?p=8621"},"modified":"2025-05-20T11:02:16","modified_gmt":"2025-05-20T11:02:16","slug":"the-acoustics-of-palaeolithic-caves-a-research-polyphony","status":"publish","type":"post","link":"https:\/\/www.ub.edu\/artsoundscapes\/the-acoustics-of-palaeolithic-caves-a-research-polyphony\/","title":{"rendered":"BLOG 19 | The acoustics of Palaeolithic caves: a research polyphony"},"content":{"rendered":"

[et_pb_section fb_built=\u00bb1″ _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][et_pb_row _builder_version=\u00bb4.9.3″ _module_preset=\u00bbdefault\u00bb][et_pb_column type=\u00bb4_4″ _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][et_pb_text _builder_version=\u00bb4.9.3″ _module_preset=\u00bbdefault\u00bb]<\/p>\n

By Diego Moreno Iglesias <\/a> and Antonio Torres Riesgo<\/p>\n

Last January, the youngest members of the Artsoundscapes project travelled to southern Spain to examine first-hand the possibilities of archaeoacoustics in caves containing Palaeolithic rock art. The academic background of those travelling are varied and exemplify the interdisciplinary nature of the project, with members coming from the fields of archaeology, acoustic engineering and psychology. The idea was that this diversity of backgrounds would allow the team to incorporate a wide range of perspectives in their exploration.<\/p>\n

The Artsoundscapes project was conceived as a comparative study of the archaeoacoustics in open-air shelters with rock art from around the world. The accessibility of the chosen locations suddenly was hampered due to the outbreak of the pandemic. The difficulties of travelling outside Europe led us to think about the possibility of working in caves with Palaeolithic art, all in Spain and therefore accessible to team members. Following this shift of spaces and chronology, a preliminary visit to some caves in the south of the Iberian peninsula was required to adapt the objectives and methodology to the new environment. The site chosen for this first visit was the Cueva de Nerja in M\u00e1laga, but, Covid-19 hit again! Due to complications caused by the virus among the Nerja workers we had to change destination at the last moment. Thanks to the assistance of Pedro Cantalejo, director of the Ardales cave research project and coordinator of the natural and historical heritage of the Guadalteba region, we had the fantastic opportunity to access the Ardales, Victoria, and Higuer\u00f3n caves in M\u00e1laga.<\/p>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\u00bb1_2,1_2″ _builder_version=\u00bb4.9.3″ _module_preset=\u00bbdefault\u00bb][et_pb_column type=\u00bb1_2″ _builder_version=\u00bb4.9.3″ _module_preset=\u00bbdefault\u00bb][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2022\/03\/18F-1.1.jpg\u00bb title_text=\u00bb18F-1.1″ _builder_version=\u00bb4.9.3″ _module_preset=\u00bbdefault\u00bb][\/et_pb_image][\/et_pb_column][et_pb_column type=\u00bb1_2″ _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2022\/03\/18F-1.2.jpg\u00bb title_text=\u00bb18F-1.2″ _builder_version=\u00bb4.9.3″ _module_preset=\u00bbdefault\u00bb][\/et_pb_image][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\u00bb1_2,1_2″ _builder_version=\u00bb4.9.3″ _module_preset=\u00bbdefault\u00bb][et_pb_column type=\u00bb1_2″ _builder_version=\u00bb4.9.3″ _module_preset=\u00bbdefault\u00bb][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2022\/03\/18F-1.3.jpg\u00bb title_text=\u00bb18F-1.3″ _builder_version=\u00bb4.9.3″ _module_preset=\u00bbdefault\u00bb][\/et_pb_image][\/et_pb_column][et_pb_column type=\u00bb1_2″ _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2023\/04\/18F_1.4.jpg\u00bb title_text=\u00bb18F_1.4″ align=\u00bbcenter\u00bb _builder_version=\u00bb4.9.3″ _module_preset=\u00bbdefault\u00bb hover_enabled=\u00bb0″ sticky_enabled=\u00bb0″][\/et_pb_image][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=\u00bb4.9.3″ _module_preset=\u00bbdefault\u00bb][et_pb_column type=\u00bb4_4″ _builder_version=\u00bb4.9.3″ _module_preset=\u00bbdefault\u00bb][et_pb_text _builder_version=\u00bb4.9.3″ _module_preset=\u00bbdefault\u00bb]<\/p>\n

Figure 1: Photos of our visit to the caves of Ardales (top), Victoria (bottom left, from left: Raquel Aparicio, Pedro Cantalejo, Samantha L\u00f3pez, Diego Moreno and Antonio Torres) and Higuer\u00f3n (bottom right).<\/em><\/p>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=\u00bb4.9.3″ _module_preset=\u00bbdefault\u00bb][et_pb_column type=\u00bb4_4″ _builder_version=\u00bb4.9.3″ _module_preset=\u00bbdefault\u00bb][et_pb_text _builder_version=\u00bb4.9.3″ _module_preset=\u00bbdefault\u00bb]<\/p>\n

Our visit to these Palaeolithic caves allowed us to get to know some of the different possible scenarios. Despite they all contain Palaeolithic rock art, their morphological and geological characteristics are very different, and so are the modifications they had been subjected to to make them accessible for tourism. With this in mind, we were able to appreciate how the physical differences of the caves influence their acoustics, and reflect on how to measure and study them in relation to rock art.<\/p>\n

Acoustic testing of caves means a modification of the research techniques and questions developed so far in the project that had developed a methodology to work in the open air. To start with, there is no longer natural light, and the landscape forms, as we know them in the open air, are substituted by silhouettes moulded by water and the passage of time. More importantly, the acoustics of enclosed spaces are usually more remarkable than those in open spaces. We also felt that the sights and sounds that impressed the team in our visit could have had the same effect on prehistoric people, creating a link between cave paintings, the geological formations and the senses.<\/p>\n

The relationship between cave art, the environment in which it is located, and the surrounding acoustics has been the subject of previous research. In order to carry out an exhaustive analysis of this phenomenon, it is necessary to review the successes and failures of previous investigations.<\/p>\n

Abb\u00e9 Glory (1964, 1965) was one of the first to investigate the relationship between rock art and the acoustics of their locations. He focussed on natural formations that emit sound when struck, which are known as lithophones, as well as the presence of cracks and calcifications, which could indicate their use in prehistoric ritual practices.<\/p>\n

About two decades later Lya Dams<\/a><\/span> (1984, 1985) carried out similar studies in these caves, expanding and confirming some of Glory’s hypotheses. She analysed the resonances that hitting some formations with stones and sticks elicitted and used musical notation to record their pitches. She also discussed possible combinations with other palaeolithic musical instruments and the potential audience.<\/p>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=\u00bb4.9.3″ _module_preset=\u00bbdefault\u00bb][et_pb_column type=\u00bb4_4″ _builder_version=\u00bb4.9.3″ _module_preset=\u00bbdefault\u00bb][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2022\/04\/18F-2-HD.jpg\u00bb title_text=\u00bb18F-2 HD\u00bb _builder_version=\u00bb4.9.3″ _module_preset=\u00bbdefault\u00bb][\/et_pb_image][et_pb_text _builder_version=\u00bb4.9.3″ _module_preset=\u00bbdefault\u00bb]<\/p>\n

Figure 2: Notes assigned to some of the lithophones in the cave of Nerja by Lya Dams<\/em><\/p>\n

[\/et_pb_text][et_pb_text _builder_version=\u00bb4.9.3″ _module_preset=\u00bbdefault\u00bb]<\/p>\n

Although the works of Glory and Dams do not have the scientific rigour that further forays into the field would require \u2013 indeed, their methodology is unclear and it seems that no sound recordings were made \u2013 they laid the groundwork for later authors to carry out more complete studies.<\/p>\n

Igor Reznikoff (1988, 2002, 2006) and Michel Dauvois (Dauvois & Boutillon 1990; Dauvois, 1994; Dauvois 1996; Dauvois, 2000) made key contributions to the field of archeoacoustics with their studies of Palaeolithic caves by attempting to map the association between acoustic phenomena such as resonance, sound amplification and reverberation with the location of pictorial motifs.<\/p>\n

Reznikoff used his own voice to make sounds and documented the reverberations and resonances he perceived. Although his conclusions suggest that he found a correlation between certain motifs \u2013 points and marks \u2013 and acoustically singular zones, he later acknowledged that his method was imprecise and suggested the need for a more exhaustive analysis (Reznikoff, 2006).<\/p>\n

\u00a0<\/em><\/p>\n

[\/et_pb_text][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2022\/04\/18F-3-HD.jpg\u00bb title_text=\u00bb18F-3 HD\u00bb force_fullwidth=\u00bbon\u00bb _builder_version=\u00bb4.9.3″ _module_preset=\u00bbdefault\u00bb][\/et_pb_image][et_pb_text _builder_version=\u00bb4.9.3″ _module_preset=\u00bbdefault\u00bb]<\/p>\n

Figure 3: Equipment inside of cave d\u2019Arcy, where Reznikoff carried out acoustical exploration in 2019 (https:\/\/forum.ircam.fr\/article\/voices-from-resonant-spaces\/)<\/em><\/p>\n

\u00a0<\/em><\/p>\n

[\/et_pb_text][et_pb_text _builder_version=\u00bb4.9.3″ _module_preset=\u00bbdefault\u00bb]<\/p>\n

French archaeologist Dauvois, working in the 90s with acoustician Xavier Boutillon, in contrast, employed more sophisticated methods, using precise acoustic sources and receivers. This technology is now outdated, but this would not be a problem if they had provided more e information about the measurement methodology employed. Questions remain regarding the location of the sound sources and the reasoning behind these. Many of the difficulties that they surely encountered during fieldwork when recording in uneven and humid caves, and the decisions made to overcome them, were left unrecorded and all those may have had an effect in the results obtained.<\/p>\n

The aim of Dauvois and Boutillon\u2019s reseach was twofold. On the one hand, they sought to investigate the relationship between the acoustics in areas with rock art in comparison with others without rock art. They concluded that their relationship was unsystematic. On the other hand, the authors carried out a record of the acoustic response of lithophones by recording the wide variety of sounds and frequencies that they can produce. This part of their study concluded that it is possible that they were used as a musical instrument in prehistory.<\/p>\n

\u00a0<\/em><\/p>\n

\u00a0<\/em><\/p>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\u00bb1_2,1_2″ _builder_version=\u00bb4.9.3″ _module_preset=\u00bbdefault\u00bb][et_pb_column type=\u00bb1_2″ _builder_version=\u00bb4.9.3″ _module_preset=\u00bbdefault\u00bb][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2022\/03\/18F-4.1.jpg\u00bb title_text=\u00bb18F-4.1″ align=\u00bbcenter\u00bb _builder_version=\u00bb4.9.3″ _module_preset=\u00bbdefault\u00bb][\/et_pb_image][\/et_pb_column][et_pb_column type=\u00bb1_2″ _builder_version=\u00bb4.9.3″ _module_preset=\u00bbdefault\u00bb][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2022\/03\/18F-4.2.jpg\u00bb title_text=\u00bb18F-4.2″ force_fullwidth=\u00bbon\u00bb _builder_version=\u00bb4.9.3″ _module_preset=\u00bbdefault\u00bb][\/et_pb_image][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=\u00bb4.9.3″ _module_preset=\u00bbdefault\u00bb][et_pb_column type=\u00bb4_4″ _builder_version=\u00bb4.9.3″ _module_preset=\u00bbdefault\u00bb][et_pb_text _builder_version=\u00bb4.9.3″ _module_preset=\u00bbdefault\u00bb locked=\u00bboff\u00bb]<\/p>\n

Figure 4: Michel Dauvois analysing a lithophone in Reseau Clastres (left) and representation of frequencies emitted by a lithophone (right)<\/em><\/em><\/p>\n

[\/et_pb_text][et_pb_text _builder_version=\u00bb4.9.3″ _module_preset=\u00bbdefault\u00bb]<\/p>\n

Independently from the previous authors, in the early 1990s American archaeoacoustician Steve Waller also investigated the relationship between art and the presence of echoes and sound reflections, and, at the same time, he searched for information on the cultural understanding of sound in a series of ethnographic and historical sources. For his scientific experiments, his methodology consisted of using his own voice, clapping his hands, throwing stones and employing spring-loaded devices to create sounds that he would document via a hand-held recorder. He argued that there was relationship between the acoustical response obtained in a location and the content of rock art representations in them. In his studies of Palaeolithic caves he linked the depiction of ungulates and reverberation or, as he describes it, \u201cstrong sound reflections\u201d. He also suggested that carnivores such as felines were represented in acoustically dull areas, reinforcing the idea that the placement of rock art was somewhat driven by acoustics (Waller, 1993). In his studies of the caves of Niaux and Cougnac he measured the strength of reflections in a manner similar to weather maps and once again reached similar conclusions (Waller, 2018).<\/p>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=\u00bb4.9.3″ _module_preset=\u00bbdefault\u00bb][et_pb_column type=\u00bb4_4″ _builder_version=\u00bb4.9.3″ _module_preset=\u00bbdefault\u00bb][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2022\/04\/18F-5-HD.png\u00bb title_text=\u00bb18F-5 HD\u00bb align=\u00bbcenter\u00bb _builder_version=\u00bb4.9.3″ _module_preset=\u00bbdefault\u00bb][\/et_pb_image][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=\u00bb4.9.3″ _module_preset=\u00bbdefault\u00bb][et_pb_column type=\u00bb4_4″ _builder_version=\u00bb4.9.3″ _module_preset=\u00bbdefault\u00bb][et_pb_text _builder_version=\u00bb4.9.3″ _module_preset=\u00bbdefault\u00bb locked=\u00bboff\u00bb]<\/p>\n

Figure 5: Acoustical mapping of reflections measured by Steve Waller on Cougnac<\/em><\/em><\/p>\n

[\/et_pb_text][et_pb_text _builder_version=\u00bb4.9.3″ _module_preset=\u00bbdefault\u00bb]<\/p>\n

In the 2010s a major technological leap was taken by the Songs of the Caves<\/em> project (https:\/\/songsofthecaves.wordpress.com\/<\/a>). In this interdisciplinary project archaeologists (Pablo Arias, Roberto Onta\u00f1\u00f3n, Manuel Rojo Guerra, Chris Scarre) worked together with experts in prehistoric instruments (Raquel Jim\u00e9nez Pasalodos, Carlos Garc\u00eda Benito and Simon Wyatt) and acousticians (Bruno Facenda and Rupert Till) (other members were Cristina Tejedor, Aaron Watson, Helen Drinkall and Frederick Foulds). The impulse response methodology was used and the results obtained were compared with the archaeological evidence in these places, especially as regards as the presence or not of particular rock art motifs. The impulse response methodology aims to record the acoustic response of a room to an impulsive type of stimulus, traditionally a balloon explosion, or gunshot (nowadays sinusoidal sweeps are usually employed). Acoustic parameters are extracted from this recording and, via an Ambisonics microphone, can be employed as a basis for auralisations, that is, simulations of how any acoustic source would sound in a given space.<\/p>\n

The Songs of the Caves<\/em> project worked in the caves of La Garma, El Castillo, La Pasiega, Las Chimeneas and Tito Bustillo (Till et al., 2013). The results of the project indicated that there was a weak statistical association between both low frequency resonances and moderate reverberation, and the positions of Palaeolithic painted dots and lines. The painted motifs were also collectively more statistically likely to be found in places with low reverberation and a high degree of intelligibility, clarity and definition (Fazenda et al. 2017). In addition to acoustics, other characteristics related to the location of the motives were significant, for example the distance from the cave\u2019s entrance.<\/p>\n

\n

\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\u00bb1_2,1_2″ use_custom_gutter=\u00bbon\u00bb make_equal=\u00bbon\u00bb _builder_version=\u00bb4.9.3″ _module_preset=\u00bbdefault\u00bb][et_pb_column type=\u00bb1_2″ _builder_version=\u00bb4.9.3″ _module_preset=\u00bbdefault\u00bb][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2022\/03\/18F-6.1.jpg\u00bb title_text=\u00bb18F-6.1″ align=\u00bbcenter\u00bb _builder_version=\u00bb4.9.3″ _module_preset=\u00bbdefault\u00bb custom_margin=\u00bb|-216px||||\u00bb custom_padding=\u00bb|0px|1px|||\u00bb][\/et_pb_image][\/et_pb_column][et_pb_column type=\u00bb1_2″ _builder_version=\u00bb4.9.3″ _module_preset=\u00bbdefault\u00bb][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2022\/04\/18F-6.2-HD.jpg\u00bb title_text=\u00bb18F-6.2 HD\u00bb align=\u00bbcenter\u00bb _builder_version=\u00bb4.9.3″ _module_preset=\u00bbdefault\u00bb width=\u00bb100%\u00bb min_height=\u00bb325px\u00bb custom_padding=\u00bb|33px|0px|111px||\u00bb][\/et_pb_image][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=\u00bb4.9.3″ _module_preset=\u00bbdefault\u00bb][et_pb_column type=\u00bb4_4″ _builder_version=\u00bb4.9.3″ _module_preset=\u00bbdefault\u00bb][et_pb_text _builder_version=\u00bb4.9.3″ _module_preset=\u00bbdefault\u00bb]<\/p>\n

Figure 6: Rupert Till playing lithophones for Tito Bustillo (left) and some of the equipment used in the project Songs of the Caves (right)<\/em><\/p>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=\u00bb4.9.3″ _module_preset=\u00bbdefault\u00bb][et_pb_column type=\u00bb4_4″ _builder_version=\u00bb4.9.3″ _module_preset=\u00bbdefault\u00bb][et_pb_text _builder_version=\u00bb4.9.3″ _module_preset=\u00bbdefault\u00bb]<\/p>\n

Archaeoacoustics, especially in Palaeolithic sites, is now heading towards the use of 3D modelling, simulations, and virtual reality. The digital environment is able to merge geomorphological, acoustical and lighting data, and is a powerful tool for obtaining new archaeological information. The use of modelling allows for reconstruction of spaces which have unfortunately been permanently altered by nature or human hands, thus losing \u2013 or greatly modifying \u2013 their acoustical properties. An example of this cutting-edge technology and its uses is Armance Jouteau\u2019s numerical simulation methods for both acoustics and illumination of the caves of Lascaux and Cussac in her doctoral thesis. Generally speaking, both models are based on the physical measuring of the acoustic properties of absorption and reflection of wall materials, and also the luminosity several sources of light such as torches or grease lamps (Jouteau, 2021).<\/p>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\u00bb1_2,1_2″ _builder_version=\u00bb4.9.3″ _module_preset=\u00bbdefault\u00bb][et_pb_column type=\u00bb1_2″ _builder_version=\u00bb4.9.3″ _module_preset=\u00bbdefault\u00bb][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2022\/04\/18F-7.1_HD.png\u00bb title_text=\u00bb18F-7.1_HD\u00bb force_fullwidth=\u00bbon\u00bb _builder_version=\u00bb4.9.3″ _module_preset=\u00bbdefault\u00bb min_height=\u00bb270.5px\u00bb custom_padding=\u00bb|0px||||\u00bb][\/et_pb_image][\/et_pb_column][et_pb_column type=\u00bb1_2″ _builder_version=\u00bb4.9.3″ _module_preset=\u00bbdefault\u00bb][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2022\/03\/18F-7.2.jpg\u00bb title_text=\u00bb18F-7.2″ force_fullwidth=\u00bbon\u00bb _builder_version=\u00bb4.9.3″ _module_preset=\u00bbdefault\u00bb][\/et_pb_image][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=\u00bb4.9.3″ _module_preset=\u00bbdefault\u00bb][et_pb_column type=\u00bb4_4″ _builder_version=\u00bb4.9.3″ _module_preset=\u00bbdefault\u00bb][et_pb_text _builder_version=\u00bb4.9.3″ _module_preset=\u00bbdefault\u00bb locked=\u00bboff\u00bb]<\/p>\n

Figure 7: Illumination (left) and acoustical (right) tests carried in situ by Armand Jouteau team<\/em><\/p>\n

\u00a0<\/em><\/p>\n

\u00a0<\/em><\/p>\n

[\/et_pb_text][et_pb_text _builder_version=\u00bb4.9.3″ _module_preset=\u00bbdefault\u00bb]<\/p>\n

Bibliography<\/strong><\/p>\n

Dams, L. (1984): Preliminary findings at the ‘organ’ sanctuary in the cave of Nerja, M\u00e1laga, Spain. Oxford Journal of Archaeology<\/em>, 3 (1): 1-14.<\/p>\n

Dams, L. (1985): Palaeolithic lithophones: descriptions and comparisons. Oxford Journal of Archaeology<\/em>, 4 (1): 31-46.<\/p>\n

Dauvois, M. (1994): Les t\u00e9moins sonores pal\u00e9olithiques. Ext\u00e9rieur et souterrain. ERAUL (Etudes et Recherches Ach\u00e9ologique de l’Universit\u00e9 de Li\u00e8ge) [Otte, M. (ed.) Sons originels. Pr\u00e9histoire de la musique, Actes du colloque international de Musicologie (Li\u00e8ge, 11-13 d\u00e9cembre 1993)]<\/em>: 11-31.<\/span><\/p>\n

Dauvois, M. (1996): Evidence of sound-making and the acoustic character of the decorated caves of the western Palaeolithic world. International Newsletter on Rock Art (INORA)<\/em>, 13: 23-25.<\/p>\n

Dauvois, M. (2000): Des grottes et des sons. L’universe acoustique de Cro-Magnon. In Coget, J. (ed.). L’homme, le min\u00e9ral et la musique<\/em>. Modal. 10-23. Parthenay (Deux-S\u00e8vres).<\/span><\/p>\n

Dauvois, M. and Boutillon, X. (1990): Etudes acoustiques au R\u00e9seau Clastres: salle des peintures et lithophones naturels. <\/span>Pr\u00e9histoire, art et soci\u00e9t\u00e9s. Bulletin de la Soci\u00e9t\u00e9 Pr\u00e9historique de l’Ari\u00e8ge-Pyr\u00e9n\u00e9es<\/span><\/em>, 45: 175-186.<\/span><\/p>\n

Fazenda, B., Scarre, C., Till, R., Jim\u00e9nez Pasalodos, R., Rojo Guerra, M., Tejedor, C., Onta\u00f1on Peredo, R., Watson, A., Wyatt, S., Garc\u00eda Benito, C., Drinkall, H. and Foulds, F. (2017): Cave acoustics in prehistory: Exploring the association of Palaeolithic visual motifs and acoustic response. The Journal of the Acoustical Society of America<\/em>, 142: 1332-1349.<\/p>\n

Glory, A. (1964): La Grotte du Roucadour (Lot). Bulletin de la Soci\u00e9t\u00e9 Pr\u00e9historique Fran\u00e7aise. <\/span><\/em>Comptes rendus des s\u00e9ances mensuelles<\/em>, 61 (7 (pr\u00e9sentations et communications)): CLXVI-CLXIX.<\/p>\n

Glory, A. (1965): Nouvelles d\u00e9couvertes de dessins rupestres sur le causse de Gramat. Bulletin de la Soci\u00e9t\u00e9 Pr\u00e9historique Fran\u00e7aise<\/em>, 62 (3): 528-536.<\/span><\/p>\n

Glory, A., Vaultier, M. and Farinha Dos Santos, M. (1965): La grotte orn\u00e9e d\u2019Escoural (Portugal). Bulletin de la Soci\u00e9t\u00e9 Pr\u00e9historique Fran\u00e7aise<\/em>, 62 (H-S): 110-117.<\/span><\/p>\n

Jouteau, A. (2021): Grottes orn\u00e9es pal\u00e9olithiques : espaces naturels, espaces culturels, art et d\u00e9ter- minisme. L\u2019apport des mod\u00e9lisations, l\u2019exemple de Lascaux et de Cussac. Arch\u00e9ologie et Pr\u00e9histoire. Universit\u00e9 de Bordeaux. PhD thesis.<\/p>\n

Reznikoff, I. and Dauvois, M. (1988): La dimension sonore des grottes orn\u00e9es. Bulletin de la Soci\u00e9t\u00e9 Pr\u00e9historique Fran\u00e7aise<\/em>, 85: 238-46.<\/p>\n

Reznikoff, I. (2002): Prehistoric Paintings, Sound and Rocks. In Hickmann, E., Kilmen, A. D. and Eichman, R. (eds.): Studien zur Musikarch\u00e4ologie III: Papers from the 2nd International Symposium on Music Archaeology, Monastery Michaelstein (Germany), 2000<\/em>. Rahden Orient-Arch\u00e4ologie 107. 39-56. Berlin.<\/p>\n

Reznikoff, I. (2006): The evidence of the use of sound resonance from Palaeolithic to Medieval times. In Scarre, C. and Lawson, G. (eds.): Archaeoacoustics<\/em>. McDonald Institute for Archaeological Research, University of Cambridge McDonald Institute Monographs. 77-84. Cambridge.<\/p>\n

Till, R., Wyatt, S., Fazenda, B., Sheaffer, J. and Scarre, C. (2013): Songs of the Caves: Sound and Prehistoric Art in Caves. Initial report on a study in the Cave of Tito Bustillo, Asturias, Spain. songsofthecaves.wordpress.com\/ [Accessed: February 2022].<\/p>\n

Waller, S. J. (1993): Sound reflection as an explanation for the context and content of rock art. Rock Art Research<\/em> 10, 91\u2013101.<\/p>\n

Waller, S. J. (2018): Hear Here: Prehistoric Artists Preferentially Selected Reverberant Spaces and Choice of Subject Matter Underscores Ritualistic Use of Sound. In B\u00fcster, L., Warmenbol, E. and Mleku\u017e, D. (eds.): Between Worlds. Understanding Ritual Cave Use in Later Prehistory. Springer. New York.<\/p>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section]<\/p>\n","protected":false},"excerpt":{"rendered":"

Last January, the youngest members of the Artsoundscapes project travelled to southern Spain to examine first-hand the possibilities of archaeoacoustics in caves containing Palaeolithic rock art…<\/p>\n","protected":false},"author":4,"featured_media":8654,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":"","_et_gb_content_width":"","spay_email":"","_links_to":"","_links_to_target":""},"categories":[46,45,43],"tags":[],"yoast_head":"\nBLOG 19 | The acoustics of Palaeolithic caves: a research polyphony - Artsoundscapes %<\/title>\n<meta name=\"description\" content=\"ARTSOUNDSCAPES is an ERC Advanced grant project led by Prof. Margarita D\u00edaz-Andreu. It deals with sound, rock art and sacred landscapes among past hunter-gatherers and early agricultural societies around the world.\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.ub.edu\/artsoundscapes\/the-acoustics-of-palaeolithic-caves-a-research-polyphony\/\" \/>\n<meta property=\"og:locale\" content=\"es_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"BLOG 19 | The acoustics of Palaeolithic caves: a research polyphony - Artsoundscapes %\" \/>\n<meta property=\"og:description\" content=\"ARTSOUNDSCAPES is an ERC Advanced grant project led by Prof. Margarita D\u00edaz-Andreu. It deals with sound, rock art and sacred landscapes among past hunter-gatherers and early agricultural societies around the world.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.ub.edu\/artsoundscapes\/the-acoustics-of-palaeolithic-caves-a-research-polyphony\/\" \/>\n<meta property=\"og:site_name\" content=\"Artsoundscapes\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/es-es.facebook.com\/artsoundscapes\/\" \/>\n<meta property=\"article:published_time\" content=\"2022-03-23T18:44:29+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2025-05-20T11:02:16+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2022\/04\/Thumb-Blog-n18-1024x626.png\" \/>\n\t<meta property=\"og:image:width\" content=\"1024\" \/>\n\t<meta property=\"og:image:height\" content=\"626\" \/>\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=\"16 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\":\"ImageObject\",\"@id\":\"https:\/\/www.ub.edu\/artsoundscapes\/the-acoustics-of-palaeolithic-caves-a-research-polyphony\/#primaryimage\",\"inLanguage\":\"es\",\"url\":\"https:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2022\/04\/Thumb-Blog-n18.png\",\"width\":1342,\"height\":820},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/www.ub.edu\/artsoundscapes\/the-acoustics-of-palaeolithic-caves-a-research-polyphony\/#webpage\",\"url\":\"https:\/\/www.ub.edu\/artsoundscapes\/the-acoustics-of-palaeolithic-caves-a-research-polyphony\/\",\"name\":\"BLOG 19 | The acoustics of Palaeolithic caves: a research polyphony - Artsoundscapes %\",\"isPartOf\":{\"@id\":\"https:\/\/www.ub.edu\/artsoundscapes\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/www.ub.edu\/artsoundscapes\/the-acoustics-of-palaeolithic-caves-a-research-polyphony\/#primaryimage\"},\"datePublished\":\"2022-03-23T18:44:29+00:00\",\"dateModified\":\"2025-05-20T11:02:16+00:00\",\"description\":\"ARTSOUNDSCAPES is an ERC Advanced grant project led by Prof. Margarita D\\u00edaz-Andreu. It deals with sound, rock art and sacred landscapes among past hunter-gatherers and early agricultural societies around the world.\",\"breadcrumb\":{\"@id\":\"https:\/\/www.ub.edu\/artsoundscapes\/the-acoustics-of-palaeolithic-caves-a-research-polyphony\/#breadcrumb\"},\"inLanguage\":\"es\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/www.ub.edu\/artsoundscapes\/the-acoustics-of-palaeolithic-caves-a-research-polyphony\/\"]}]},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/www.ub.edu\/artsoundscapes\/the-acoustics-of-palaeolithic-caves-a-research-polyphony\/#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\/the-acoustics-of-palaeolithic-caves-a-research-polyphony\/\",\"url\":\"https:\/\/www.ub.edu\/artsoundscapes\/the-acoustics-of-palaeolithic-caves-a-research-polyphony\/\",\"name\":\"BLOG 19 | The acoustics of Palaeolithic caves: a research polyphony\"}}]},{\"@type\":\"Article\",\"@id\":\"https:\/\/www.ub.edu\/artsoundscapes\/the-acoustics-of-palaeolithic-caves-a-research-polyphony\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/www.ub.edu\/artsoundscapes\/the-acoustics-of-palaeolithic-caves-a-research-polyphony\/#webpage\"},\"author\":{\"@id\":\"https:\/\/www.ub.edu\/artsoundscapes\/#\/schema\/person\/e876ceb91d1c34bf1a609b31b3642c09\"},\"headline\":\"BLOG 19 | The acoustics of Palaeolithic caves: a research polyphony\",\"datePublished\":\"2022-03-23T18:44:29+00:00\",\"dateModified\":\"2025-05-20T11:02:16+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/www.ub.edu\/artsoundscapes\/the-acoustics-of-palaeolithic-caves-a-research-polyphony\/#webpage\"},\"publisher\":{\"@id\":\"https:\/\/www.ub.edu\/artsoundscapes\/#organization\"},\"image\":{\"@id\":\"https:\/\/www.ub.edu\/artsoundscapes\/the-acoustics-of-palaeolithic-caves-a-research-polyphony\/#primaryimage\"},\"articleSection\":\"Neuropsychology,Psychoacoustics,Rock Art\",\"inLanguage\":\"es\"},{\"@type\":\"Person\",\"@id\":\"https:\/\/www.ub.edu\/artsoundscapes\/#\/schema\/person\/e876ceb91d1c34bf1a609b31b3642c09\",\"name\":\"artsoundscapes\",\"image\":{\"@type\":\"ImageObject\",\"@id\":\"https:\/\/www.ub.edu\/artsoundscapes\/#personlogo\",\"inLanguage\":\"es\",\"url\":\"https:\/\/secure.gravatar.com\/avatar\/cccefb31ade54a925a7b3be1c14b7ff4?s=96&d=mm&r=g\",\"caption\":\"artsoundscapes\"}}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","jetpack_featured_media_url":"https:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2022\/04\/Thumb-Blog-n18.png","_links":{"self":[{"href":"https:\/\/www.ub.edu\/artsoundscapes\/wp-json\/wp\/v2\/posts\/8621"}],"collection":[{"href":"https:\/\/www.ub.edu\/artsoundscapes\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.ub.edu\/artsoundscapes\/wp-json\/wp\/v2\/types\/post"}],"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=8621"}],"version-history":[{"count":20,"href":"https:\/\/www.ub.edu\/artsoundscapes\/wp-json\/wp\/v2\/posts\/8621\/revisions"}],"predecessor-version":[{"id":10426,"href":"https:\/\/www.ub.edu\/artsoundscapes\/wp-json\/wp\/v2\/posts\/8621\/revisions\/10426"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.ub.edu\/artsoundscapes\/wp-json\/wp\/v2\/media\/8654"}],"wp:attachment":[{"href":"https:\/\/www.ub.edu\/artsoundscapes\/wp-json\/wp\/v2\/media?parent=8621"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.ub.edu\/artsoundscapes\/wp-json\/wp\/v2\/categories?post=8621"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.ub.edu\/artsoundscapes\/wp-json\/wp\/v2\/tags?post=8621"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}