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By Zorana Dordevic (Marie Sklodowska-Curie Postdoctoral Researcher)<\/p>\n
In June 2023, my husband, our two-year-old daughter, and I finally arrived in Barcelona after months of preparation. Starting a family adds many more layers to life, and even simple weekend trips can sometimes feel like scenes from a science fiction movie. However, when it comes to pursuing our dreams, my family has an incredible energy and determination. The Barcelona adventure has now officially begun, and I will use this virtual platform to share my impressions and thoughts about it. This first blog entry is dedicated to explaining my motivation behind making such a dramatic change in my personal and professional life.<\/p>\n
My partner and I made the decision to move shortly after I was awarded a prestigious Marie Sk\u0142odowska-Curie (MSCA) postdoctoral grant hosted at the University of Barcelona. Receiving the MSCA grant was of immense significance for both me and my family, for several interconnected reasons. Firstly, it allowed me to finally collaborate with and learn from a team of researchers whose work I have admired and followed for many years, because they are pushing the boundaries of our niche scientific field of archaeoacoustics through the ERC Artsoundscapes project. Secondly, it offered me the prospect to delve deeper into my research on medieval sacred soundscapes. And lastly, it gave my family the great opportunity to experience life in the vibrant and multicultural city of Barcelona.<\/p>\n
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Ever since I had embarked on my PhD thesis, I had found myself deeply captivated by research in the field of archaeoacoustics, particularly in relation to prehistoric caves and rock-art sites. My interest in this area led me to closely follow all the developments and activities of the Artsoundscapes project since 2018. However, recognizing the abundance of medieval monastic sites in Serbia, I decided to dedicate several years to researching the archaeoacoustics of medieval Serbian churches.<\/p>\n
In 2020, I seized the opportunity to further my knowledge and skills by seeking the guidance of ICREA Research Professor Margarita D\u00edaz-Andreu<\/a><\/span>, who graciously agreed to supervise my MSCA postdoctoral grant application. The application process was an arduous journey, involving multiple rounds of writing and rewriting as I strove to refine and perfect every aspect of it. Despite facing disappointment with my initial attempt, I was more determined than ever to craft an application that would ultimately meet with success. The feedback from the reviewers proved invaluable, prompting me to view my proposed project from fresh perspectives and contemplate effective ways to disseminate research findings to a broader audience. Throughout this challenging process, Professor D\u00edaz-Andreu provided priceless guidance, patiently offering comments, insights, and unwavering support. The following year, my project received commendable ratings but landed on the reserve list. Not deterred, I decided to apply for the MSCA postdoctoral fellowship once again. To my astonishment, I received notification that my previous proposal, which still seemingly was on the reserve list, had finally secured funding. It was almost surreal\u2014I had succeeded in obtaining the MSCA, and a world of opportunities had just opened up before me.<\/p>\n [\/et_pb_text][et_pb_text _builder_version=\u00bb4.9.3″ _module_preset=\u00bbdefault\u00bb]<\/p>\n Let me provide some background information about my project, \u201cAural Culture: Deciphering the Sacred Soundscapes of Medieval Europe,\u201d abbreviated as CULT-AURAL. The primary objective of this project is to investigate whether the acoustic qualities of sacred soundscapes and the use of large percussion instruments held significance for medieval communities. Additionally, I aim to understand the spatial impact of aural communication within monasteries and explore potential differences between male and female monastic soundscapes. To address these inquiries, the project will conduct comprehensive assessments of the acoustic properties of monastic environments and large percussion instruments. This will be achieved through on-site acoustic measurements and the development of acoustic models, focusing on three geographically distinct regions in Europe: Catalonia, Serbia, and Norway.<\/p>\n I am grateful for the support of Professor Karoline Kjesrud, which has led to the Museum of Cultural Heritage at the University of Oslo, hosting the CULT-AURAL project for a future secondment. This opportunity will not only allow me to gain valuable insights into how the museum presents archaeoacoustic findings but will also provide a platform to share our research discoveries with a broader audience.<\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=\u00bb4.9.3″ _module_preset=\u00bbdefault\u00bb custom_margin=\u00bb6px||6px||true|false\u00bb custom_padding=\u00bb6px||6px||true|false\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\/2023\/09\/Photo-1.jpeg\u00bb title_text=\u00bbPhoto 1″ align=\u00bbcenter\u00bb _builder_version=\u00bb4.9.3″ _module_preset=\u00bbdefault\u00bb width=\u00bb77%\u00bb max_width=\u00bb77%\u00bb custom_margin=\u00bb2px||2px||false|false\u00bb custom_padding=\u00bb2px||2px||true|false\u00bb][\/et_pb_image][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=\u00bb4.9.3″ _module_preset=\u00bbdefault\u00bb custom_margin=\u00bb1px||8px||false|false\u00bb custom_padding=\u00bb1px||8px||false|false\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 text_font_size=\u00bb13px\u00bb custom_margin=\u00bb||0px||false|false\u00bb custom_padding=\u00bb0px||0px||false|false\u00bb]<\/p>\n Figure 1.\u00a0First day at work with Professor. Margarita Diaz-Andreu, July 2023. Photograph: M. D\u00edaz-Andreu<\/em><\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=\u00bb4.9.3″ _module_preset=\u00bbdefault\u00bb min_height=\u00bb179.8px\u00bb custom_margin=\u00bb1px|auto||auto||\u00bb custom_padding=\u00bb1px||0px||false|false\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 custom_padding=\u00bb1px|||||\u00bb]<\/p>\n In July 2023, the CULT-AURAL project was launched with two training sessions conducted by the Artsoundscapes project team at the University of Barcelona. These training sessions were scheduled in the first week of my project and were also extended to Marco Solis, an MA researcher from the Autonomous University of Ciudad Ju\u00e1rez in Mexico, who coincidentally arrived in Barcelona at the same time as I did. Marco had secured funding from his university to gain insights into the innovative research methods employed by the Artsoundscapes team. Organized by Professor D\u00edaz-Andreu<\/a><\/span>, the first training session focused on the methodology of archaeoacoustic fieldwork. Archaeologist Neemias Santos da Rosa<\/a><\/span>, the instructor for this session, shared invaluable insights, tips, and tricks on how to effectively prepare for and manage fieldwork. The second training session covered acoustic measurement and data post-processing, led by the project\u2019s team of acousticians, including Lidia \u00c1lvarez Morales<\/a><\/span>, Daniel Ben\u00edtez<\/a><\/span>, and Diego Moreno Iglesias<\/a><\/span>. Following the initial portion of this session, Marco and I had the opportunity to personally test the acoustic equipment and engage in discussions with Diego Moreno Iglesias about the advantages and disadvantages of each instrument. This marked a fantastic start to my project, and the training proved to be incredibly beneficial in preparing me for planning the tasks ahead.<\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=\u00bb4.9.3″ _module_preset=\u00bbdefault\u00bb custom_margin=\u00bb6px||6px||true|false\u00bb custom_padding=\u00bb6px||6px||true|false\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\/2023\/09\/Photo-2-1.jpeg\u00bb title_text=\u00bbPhoto 2″ align=\u00bbcenter\u00bb _builder_version=\u00bb4.9.3″ _module_preset=\u00bbdefault\u00bb width=\u00bb77%\u00bb max_width=\u00bb77%\u00bb custom_padding=\u00bb0px||0px||false|false\u00bb][\/et_pb_image][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=\u00bb4.9.3″ _module_preset=\u00bbdefault\u00bb custom_margin=\u00bb1px||8px||false|false\u00bb custom_padding=\u00bb1px||8px||false|false\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 text_font_size=\u00bb13px\u00bb custom_margin=\u00bb1px||1px||true|false\u00bb custom_padding=\u00bb1px||1px||true|false\u00bb]<\/p>\n Figure 2. Training session with Neemias Santos da Rosa. Photograph: M. D\u00edaz-Andreu<\/em><\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=\u00bb4.9.3″ _module_preset=\u00bbdefault\u00bb custom_margin=\u00bb1px|auto||auto|false|false\u00bb custom_padding=\u00bb1px||0px||false|false\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 custom_padding=\u00bb||0px||false|false\u00bb]<\/p>\n The subsequent weeks of the project were just as eventful. We embarked on a tour of the ImmpaLAB<\/a><\/span>, a Psychoacoustic laboratory situated within the Psychology department, generously funded by the Artsoundscapes project. During our visit, we engaged in enlightening discussions with our guides, Samantha L\u00f3pez<\/a><\/span> and Raquel Aparicio<\/a><\/span>, both PhD candidates of the Artsoundscapes project. Our conversations revolved around their research and the promising prospects of the emerging field of psychoarchaeoacoustics. Simultaneously, I commenced a third series of training activities under the guidance of archaeologist Natalia G\u00f3nz\u00e1lez V\u00e1zquez<\/a><\/span>. Natalia imparted the fundamental principles of working with sound within a Geographic Information Systems (GIS), utilizing the ArcGIS software. Since my integration into the UB team, Berta Berengueras has been an invaluable source of support, patiently assisting me with various questions and uncertainties. Moreover, she has proven to be an excellent conversational partner, allowing me to practice my Spanish. Collectively, these experiences constituted a heart-warming welcome and an exceptional initiation into my project. However, they also provided a glimpse into the considerable effort required over the next two years to achieve substantial results in a project as ambitious as mine. Nevertheless, this kind of challenge aligns perfectly with the aspirations that initially led me on this path.<\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=\u00bb4.9.3″ _module_preset=\u00bbdefault\u00bb custom_margin=\u00bb6px||6px||true|false\u00bb custom_padding=\u00bb6px||6px||true|false\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\/2023\/09\/Photo-3.jpg\u00bb title_text=\u00bbPhoto 3″ align=\u00bbcenter\u00bb _builder_version=\u00bb4.9.3″ _module_preset=\u00bbdefault\u00bb width=\u00bb77%\u00bb max_width=\u00bb77%\u00bb][\/et_pb_image][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=\u00bb4.9.3″ _module_preset=\u00bbdefault\u00bb custom_margin=\u00bb1px||8px||false|false\u00bb custom_padding=\u00bb1px||8px||false|false\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 text_font_size=\u00bb13px\u00bb]<\/p>\n Figure 3: Training in acoustics: Diego Moreno Iglesias showing the equipment for acoustic measurements to Marco and me. Photograph: Zorana Dordevic<\/em><\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=\u00bb4.9.3″ _module_preset=\u00bbdefault\u00bb custom_margin=\u00bb1px||0px||false|false\u00bb custom_padding=\u00bb1px||0px||false|false\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 custom_margin=\u00bb0px||0px||false|false\u00bb custom_padding=\u00bb||0px||false|false\u00bb]<\/p>\n On a family level, as anticipated, we’ve encountered numerous challenges. Experiencing Barcelona with a two-year-old has proven to be even more exhilarating than one might expect. Coming from a small coastal town in Croatia, the transition to the bustling street life of Catalonia’s capital city has been quite a change for us. A simple stroll along any Rambla or promenade often leads to unforgettable experiences, especially during a Fiesta Major. Our little one thoroughly enjoys observing and interacting with people, which frequently gives us a reason to strike up conversations with locals and torture them by putting our Spanish language skills to the test. Exploring the city on bike rides has proven to be an ideal way for us to get around, keeping our little one entertained throughout. Given our arrival in the summer, we’ve had to contend with some particularly hot and humid days. Thankfully, Barcelona offers a wide array of indoor playgrounds and fascinating museums to escape the heat. The Museum of Natural Sciences, for example, has a program tailored for children aged 0-6. Interestingly, our daughter has an aversion to sand in parks; it’s something she simply can’t tolerate. A fun fact, considering she absolutely adores sandy beaches. Well\u2026 toddlers!<\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=\u00bb4.9.3″ _module_preset=\u00bbdefault\u00bb custom_margin=\u00bb6px||6px||true|false\u00bb custom_margin_tablet=\u00bb\u00bb custom_margin_phone=\u00bb\u00bb custom_margin_last_edited=\u00bbon|desktop\u00bb custom_padding=\u00bb6px||6px||true|false\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\/2023\/09\/Photo-4.jpeg\u00bb title_text=\u00bbPhoto 4″ align=\u00bbcenter\u00bb _builder_version=\u00bb4.9.3″ _module_preset=\u00bbdefault\u00bb width=\u00bb77%\u00bb max_width=\u00bb77%\u00bb custom_padding=\u00bb0px||0px||true|false\u00bb][\/et_pb_image][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=\u00bb4.9.3″ _module_preset=\u00bbdefault\u00bb custom_margin=\u00bb0px||8px||false|false\u00bb custom_padding=\u00bb1px||8px||false|false\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 text_font_size=\u00bb13px\u00bb custom_margin=\u00bb||0px||false|false\u00bb]<\/p>\n \u00a0Figure 4: Exploring Barcelona on a bike, summer 2023. Photograph: Ivan Cale<\/em><\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=\u00bb4.9.3″ _module_preset=\u00bbdefault\u00bb custom_margin=\u00bb1px||||false|false\u00bb custom_padding=\u00bb1px||0px||false|false\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 August is a month when practically everyone in Spain goes on holiday, and for several years, the University of Barcelona has opted to close for most of the month as a cost-saving measure. Faced with this situation, I decided to make the most of my time by focusing on improving my Spanish skills. I enrolled in an intensive language course and during this period I finally broke through that initial barrier one encounters when trying to communicate in a new language. In addition to my language studies, I also had the opportunity to explore Catalan literature for the first time. The only writer I could find translated into Serbian\/Croatian was Merc\u00e8 Rodoreda. It was an incredible experience reading her novels while wandering through the streets of the Gracia neighborhood she described.<\/span><\/p>\n Now, as we enter the beginning of our third month in Barcelona, my family have settled into what we hope will be our permanent residence for the next two years. We are eagerly awaiting the opening of a kindergarten for our daughter. Our Barcelona experience has been a blend of beauty and challenge, relaxation and anxiety, and it has been both exhilarating and overwhelming, all at once. This might sound somewhat dramatic, but as I reflect on the past two months in Barcelona, a passage from Herman Hesse’s \u201cDemian\u201d keeps coming to mind and can be summarized with this quote: \u201cThe bird fights its way out of the egg. The egg is the world. Who would be born must first destroy the world.\u201d Whether it turns out to be a prophecy or simply a source of solace, only time will reveal.<\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=\u00bb4.9.3″ _module_preset=\u00bbdefault\u00bb custom_margin=\u00bb6px||6px||true|false\u00bb custom_padding=\u00bb6px||6px||true|false\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\/2023\/09\/Photo-5.jpg\u00bb title_text=\u00bbPhoto 5″ align=\u00bbcenter\u00bb _builder_version=\u00bb4.9.3″ _module_preset=\u00bbdefault\u00bb width=\u00bb77%\u00bb max_width=\u00bb77%\u00bb][\/et_pb_image][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=\u00bb4.9.3″ _module_preset=\u00bbdefault\u00bb custom_margin=\u00bb1px||1px||true|false\u00bb custom_padding=\u00bb1px||1px||true|false\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 text_font_size=\u00bb13px\u00bb]<\/p>\n Figure 5: The moment of total exhaustion while exploring Barcelona one weekend in July 2023. Photograph: Ivan Cale<\/em><\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=\u00bb4.9.3″ _module_preset=\u00bbdefault\u00bb custom_margin=\u00bb1px||1px||true|false\u00bb custom_padding=\u00bb1px||1px||true|false\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 hover_enabled=\u00bb0″ sticky_enabled=\u00bb0″]<\/p>\n <\/p>\n Note added in 2025: If you want to know about some of the results of my Marie Sklodowska-Curie fellowship read here<\/a><\/span><\/p>\n My first publications out of my Marie Sk\u0142odowska-Curie postdoc project:<\/p>\n ARTICLES<\/p>\n \u2022 \u0110or\u0111evi\u0107, Zorana<\/strong>, Lidia Alvarez-Morales, and Dragan Novkovi\u0107. 2025<\/strong>. \u201cSonic Heritage of Medieval Bells from the Valdres Region of Norway.\u201d Heritage<\/em> 8 (9): 359. https:\/\/doi.org\/10.3390\/heritage8090359<\/a>.<\/p>\n \u2022 \u0110or\u0111evi\u0107, Zorana<\/strong>, Xavier Costa-Badia, Natalia Gonz\u00e1lez V\u00e1zquez, and Lidia Alvarez Morales. 2024<\/strong>. \u201cUnveiling the Historical Significance of Santa Maria d\u2019\u00c0neu: Can Soundscape Studies Illuminate Its Role within the Medieval Ecclesiastical Structure?\u201d Studia Universitatis Hereditati <\/em>12 (2): 65\u201384. https:\/\/doi.org\/10.26493\/2350-5443.12(2)65-84<\/a>.<\/p>\n EDITED ISSUE<\/p>\n \u2022 \u0110or\u0111evi\u0107, Zorana<\/strong>, Zrinka Mileusni\u0107, Jasmina \u0106iri\u0107, and Xavier Costa Badia (eds.). 2024<\/strong>. Special Issue: Medieval Sensorium: Exploring the Archaeology of the Senses. Studia Universitatis Hereditati<\/em> 12 (2). https:\/\/zalozba.upr.si\/issn\/2350-5443\/12-2\/<\/a><\/p>\n <\/p>\n DATASETS<\/p>\n \u2022 \u0110or\u0111evi\u0107, Zorana<\/strong>, and Lidia Alvarez Morales. 2025<\/strong>. Audio and Acoustic Data of Matraques from Santa Maria de Ripoll and Santa Maria de Cervera, Catalonia [Data set]. Zenodo.\u00a0https:\/\/doi.org\/10.5281\/zenodo.17532863<\/a><\/p>\n \u2022 \u0110or\u0111evi\u0107, Zorana<\/strong>. 2025<\/strong>. \u00abAcoustic Measurements at Sant Andreu de Pujol, Pallars Sobir\u00e0, Catalonia\u00bb,\u00a0https:\/\/doi.org\/10.34810\/data2049<\/a>, CORA.Repositori de Dades de Recerca, V1<\/p>\n \u2022\u00a0\u0110or\u0111evi\u0107, Zorana<\/strong>, and Lidia Alvarez Morales. 2025<\/strong>. \u00abAcoustic Measurements of Medieval Bells in the Valdres Region, Norway\u00bb,\u00a0https:\/\/doi.org\/10.34810\/data2255<\/a>, CORA.Repositori de Dades de Recerca, V1<\/p>\n