1. Handcrafting in archaeomusicological research
- Author
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Safa , Etienne, Archéologie, Terre, Histoire, Sociétés [Dijon] ( ARTeHiS ), Ministère de la Culture et de la Communication ( MCC ) -Université de Bourgogne ( UB ) -Centre National de la Recherche Scientifique ( CNRS ), Sibylle Emerit, Sylvain Perrot, Alexandre Vincent, Archéologie, Terre, Histoire, Sociétés [Dijon] (ARTeHiS), Centre National de la Recherche Scientifique (CNRS)-Université de Bourgogne (UB)-Ministère de la Culture et de la Communication (MCC), and Safa, Etienne
- Subjects
[SHS.ARCHEO] Humanities and Social Sciences/Archaeology and Prehistory ,[SHS.MUSIQ]Humanities and Social Sciences/Musicology and performing arts ,[SHS.ARCHEO]Humanities and Social Sciences/Archaeology and Prehistory ,Epistemological approach ,[ SHS.MUSIQ ] Humanities and Social Sciences/Musicology and performing arts ,Flûtes ,Flutelike instrument ,archéomusicologie ,[ SHS.HISPHILSO ] Humanities and Social Sciences/History, Philosophy and Sociology of Sciences ,[SHS.MUSIQ] Humanities and Social Sciences/Musicology and performing arts ,[SHS.HISPHILSO]Humanities and Social Sciences/History, Philosophy and Sociology of Sciences ,Artisanat de l'os ,approche épistémologique ,archéologie du son ,[SHS.HISPHILSO] Humanities and Social Sciences/History, Philosophy and Sociology of Sciences ,[ SHS.ARCHEO ] Humanities and Social Sciences/Archaeology and Prehistory ,Handcrafting ,Archaeomusicology ,Sound archaeology ,Bone industry - Abstract
There were no conference proceedings but you may find video recordings of some of the talks by following the link above; International audience; Archaeological flutes, as sound artefacts, both stand in material and immaterial culture. They are made of tremendous subtleties that archaeologists have a hard time to understand while these are craftsmen's everyday life. These subtleties are the link between material (rough material, tools, gestures) and immaterial (sounds, music, timber, uses) issues. They are the reason why archaeology cannot study ancient sound instruments on its own. A one-year insight experience of apprenticeship alongside a traditional-flute-maker (Jean-Daniel Talma, ElBock workshop) in 2014-2015 was a way to demonstrate that archaeomusicological research has everything to gain when merged with handcrafting. As a new way to practice archaeological studies, " crafting archaeology " is offering new epistemological and methodological questions, revealing shortcomings or weaknesses in past and actual sound interpretations, giving clues to improve studying methods, and bringing us to consider a " sound-archaeology " rather than a " music-archaeology ". When crafting sounds out of a flute becomes clear and almost natural, changes appear in our way to look, apprehend and understand those instruments. These changes result from the transformation from a quantitative to a qualitative approach. More than raising new questions, handcrafting is also offering new perspectives in sound archaeology research: it questions our way to think, the consciousness we have of our subjects and even our scholar process. Following craftsmen's know-how's teachings in a new qualitative approach, we could even find a new field of application by using recent technological breakthroughs in the 3D industry through a 3D scanningreconstructing-and-printing protocol.
- Published
- 2016