Los sonidos de la Prehistoria: Reflexiones en torno a las evidencias de prácticas musicales del paleolítico y el neolítico en Eurasia

Referències bibliogràfiques

• Arbaud, P. D. (1857), Recherches sur la flûte ancienne, Paris, Garnier frères.
• Arco, L. D. (1917), “Descubrimiento de pinturas rupestres del Barranco de la Valltorta”, Boletín de la Real Academia de la Historia, 71, pp. 5-17.
• Arnal, J. (1973), “I. Etude archéologique. Le Lebous à Saint-Mathieu-de-Tréviers (Hérault). Ensemble du Chalcolithique au Gallo-Romain”, Gallia Préhistoire, 16, 1, pp. 131-193.
• Ball, R. (1844), “On the Crotal”, Proceedings of the Royal Irish Academy (1836-1869), 3, pp. 135-136.
• Barandiarán, I. (1971), “‘Bramaderas’ en el Paleolítico Superior Peninsular”, Pyrenae, 7, pp. 7-18.
• Barandiarán, I. (2012), “Forma vs. Función en tipología prehistórico: el caso de las bramaderas óseas magdalenienses”, Veleia, 29, pp. 307-334.
• B.B. [posiblemente Benjamin Bartlet] (1763), Texto explicativo de la Lámina XX, Vetusta Monumenta II, London, Society of Antiquaries.
• Bégouén, C. H. y Breuil, A. H. (1958), Les cavernes du Volp: Trois-Frêreres, Tud d’Audoubert, Paris, Arts et métiers graphiques.
• Beguiristáin, M. A. y Vélaz, D. (1998), “Objetos de adorno personal en el dolmen de Aizibita (Cirauqui, Navarra)”, Cuadernos de Arqueología de Navarra, 6, pp. 7-31.
• Bibikov, S. N. (1981), Drevneishii Muzykalnyi Kompleks iz Kostei Mamonta: Ocherk Materialnoi i Dukhovnoi Kultury Paleoliticheskogo Cheloveka, Kiev, Naukova Dumka.
• Blacking, J. (1974), How musical is man?, Seattle, London, University of Washington press.
• Blake, E. y Cross, I. (2008), “Flint Tools as Portable Sound-Producing Objects in the Upper Palaeolithic Context: An Experimental Study”, P. Cunningham, J. Heeb y R. Paardekooper (eds.), Experiencing Archaeology by Experiment: Proceedings of the Experimental Archaeology Conference, Exeter 2007, Oxford, Oxbow Books, pp. 1-19.
• Blake, E. y Cross, I. (2015), “The Acoustic and Auditory Contexts of Human Behavior”, Current anthropology, 56, 1, pp. 81-103.
• Both, A. A. (2009), “Music archaeology: some methodological and theoretical considerations”, Yearbook for Traditional Music, 41, pp. 1-11.
• Buisson, D. (1990), “Les flûtes paléolithiques d’Isturitz (Pyrénées-Atlantiques)”, Bulletin de la Société préhistorique française, 87, 10-12, pp. 420-432.
• Buisson, D. (1994), “Les flutes paleolitiques d’Isturitz”, A. Bellis y C. Homo-Lechner (eds.), La pluridisplinarité en archéologie musicale. (IVs rencontres internationales d’archéologie musicale de l’ICTM), Paris, Maison des Sciences de l’Homme, pp. 259-275.
• Caldwell, D. (2009), “Palaeolithic Whistles or Figurines? A Preliminary Survey of Pre-historic Phalangeal Figurines”, Rock Art Research, 26, 1, pp. 65-82.
• Canac, F. (1967), L’acoustique des théâtres antiques, Paris, CNRS.
• Carmen, P., Cosmin, S., Florin, C. y Roxana, B. (2013), “X-ray computed tomography investigations of Cucuteni ceramic statuettes”, Documenta Praehistorica, 40, pp. 323- 332.
• Chase, P. G. (1990), “Sifflets du Paléolithique moyen (?). Les implication d’un coprolithe actuel”, Bulletin de la Société Préhistorique Française, 87, 6, pp. 165-167.
• Chase, P. G. (2001), “Punctured reindeer phalanges from the Mousterian of Combe Grenal”, Arheološky vestnik, 52, pp. 17-23
• Classen, C., Howes, D. y Synott, A. (1994), Aroma: The Cultural History of Smell, London, Roudledge.
• Clodoré-Tissot, T., Le Gonidec, M.-B., Ramseyer, D. y Anderes, C. (2009), Instruments sonorres du Néolithique à l’aube de l’Antiquité, Paris, Éditions Societé préhistorique française.
• Coles, J. (1973), Archaeology by experiment London, Hutchinson.
• Conard, N. J. (2007), “Les flûtes aurignaciennes des grottes Geißenklösterle et du Vogelherd (Jura souabe)”, H. Floss y N. Rouquerol (eds.), Les chemines de l’art aurignacien en Europe / Das Aurignacien und die Anfänge der Kunst in Europa, Cambridge, Cambridge University Press, pp. 353-362.
• Conard, N. J.(2012), “La importancia evolutiva de las primeras evidencias de arte figurativo y los instrumentos musicales de las cuevas del suroeste de Alemania”, I. Escobar y B. Rodríguez Álvarez (eds.), Arte sin artistas. Una mirada al Paleolítico: [exposición celebrada en el] Museo Arqueológico Regional, Alcalá de Henares, Madrid, de diciembre de 2012 a abril de 2013, Madrid, Museo Arqueológico Regional, pp. 439- 462.
• Conard, N. J. y Malina, M. (2008), “New Evidence for the Origins of Music from the Caves of the Swabian Jura”, A. A. Both, R. Eichmann, E. Hickmann y L.-C. Koch (eds.), Studien zur Musikarchäologie VI, Rahden, Marie Leidorf, pp. 13-22.
• Conard, N. J., Malina, M. y Münzel, S. C. (2009), “New Flutes Document the Earliest Musical Tradition in Southwestern Germany”, Nature, 460, pp. 737-740.
• Conard, N. J., Malina, M., Münzel, S. C. y Seeberger, F. (2004): “Eine Mammutelfenbeinflöte aus dem Aurignacien des Geißenklösterle: Neue Belege für eine musikalische Tradtion im Frühen Jungpaläolithikum auf der Schwäbischen Alb”, Archäologisches korrespondenzblatt, 34, pp. 447-462.
• Cortese, G. E., Del Lucchese, A. y Garibaldi, P. (2004), “Charonia sp., uno strumento musicale del Neolitico?”, Preistoria Alpina, 40, pp. 91-96.
• Coularou, J., Vaton, J. y Vincent, A. (1981), “Une trompe en céramique dans un niveau chalcolithique (Abri n° 7 de Brugas, Vallabrix, Gard), Bulletin. Société Préhistorique. Française, 78, 4, pp. 106-107.
• Cross, I., Zubrow, E. y Cowan, F. (2002), “Musical behaviours and the archaeological record: a preliminary study”, J. R. Mathieu (ed.), Experimental Archaeology: replicating past objects, behaviors and processes, Oxford, British Archaeological Reports, pp. 25-34.
• Cuartero Monteagudo, F., Terradillos Bernal, M., Canales Camarero, D., Alonso Alcalde, R. y Alcaraz-Castaño, M. (2018), “Una aproximación a la problemática de los zumbadores magdalenienses a partir de la experimentación: influencia de las proporciones métricas de la sonoridad”, Bulletí Arqueològic, 5, 40, pp. 219-224.
• Cummings, V. (2002), “Experiencing texture and transformation in the British Neolithic”, Oxford Journal of Archaeology, 21, 3, pp. 249-261.
• d’Errico, F., Henshilwood, C., Lawson, G., Vanhaeren, M., Tillier, A.-M., Soressi, M., Bresson, F., Maureille, B., Nowell, A., Lakarra, J., Backwell, L. y Julien, M. (2003), “Archaeological Evidence for the Emergence of Language, Symbolism, and Music–An Alternative Multidisciplinary Perspective”, Journal of World Prehistory, 17, 1, pp. 1-70.
• d’Errico, F. y Lawson, G. (2006), “The Sound Paradox. How to assess the acoustic significance of archaeological evidence?”, C. Scarre y G. Lawson (eds.), Archaeoacustics, Cambridge, Cambridge University Press, pp. 41-57.
• d’Errico, F., Villa, P., Pinto Llona, A. y Ruiz Idarraga, R. R. (1998a), “A Middle Palaeolithic origin of music? using cave-bear bone accumulations to assess the Divje Babe I bone ‘flute’”, Arts y Humanities, 72, pp. 65-79.
• d’Errico, F., Villa, P., Pinto Llona, A. y Ruiz Idarraga, R. R. (1998b), “La ‘flûte’ de Divje Babe et les accumulations naturelles d’ossements d’ours des cavernes”, J.-P. Brugal, L. Meignen y M. Patou-Mathis (eds.), Économie préhistorique: les comportements de subsistenace au Paléolithique. Actes de SVIII rencontres internationales d’Archéologie et D’Histoire d’Antibes, Antibes, Éditions APDCA, Centres de recherches archéologiques Ville d’Antibes, pp. 85-104.
• Dams, L. (1984), “Preliminary findings at the ‘Organ’ Sanctuary in the Cave of Nerja, Malaga, Spain”, Oxford Journal of Archaeology, 3, 1, pp. 1-14.
• Dams, L. (1985), “Palaeolithic lithophones: descriptions and comparisons”, Oxford Journal of Archaeology, 4, 1, pp. 31-46. Daussoigne-Mehul, J. L. (1848), “L´archéologie musicale”, Revue et gazette musicale de Paris.
• Dauvois, M. (1994), “Son et musique paléolithique”, A. Bellis y C. Homo-Lechner (eds.), La pluridisplinarité en archéologie musicale. (IVs rencontres internationales d’archéologie musicale de l’ICTM), Paris, Maison des Sciences de l’Homme, pp. 151-206.
• Dauvois, M. y Boutillon, X. (1994), “Caractérisation acoustique des grottes ornées Paléolithiques et de leurs lithophones naturels”, A. Bellis y C. Homo-Lechner (eds.), La pluridisplinarité en archéologie musicale. (IVs rencontres internationales d’archéologie musicale de l’ICTM), Paris, Maison des Sciences de l’Homme, pp. 151-206.
• Demouche, F., Slimak, L. y Deflandre, D. (1996), “Nouvelle approche de la gravure du petit sorcier à l’arc musical de la grotte des Trois Frêres: Ariège”, Préhistoire Anthropologie Méditerranéennes, 5, pp. 35-37.
• Díaz-Andreu, M. y García Benito, C. (2012), “Acoustics and Levantine Rock Art: Auditory Perceptions in La Valltorta Gorge (Spain)”, Journal of Archaeological Science, 39, pp. 3591-3599.
• Díaz-Andreu, M., García Benito, C., Lazarich, M., Ramos, A., Cruz, M. J. y Gao, Q. (2013), “Archaeoacoustics and the Location of Rock Art in Spain”, P. Whitehead (ed.), IFRAO 2013 Proceedings, Glendale, Arizona, American Rock Art Research Association, pp. 661-667.
• Díaz-Andreu, M., Farina, A., Armelloni, E., Coltofean, L., Picas, M. y Mattioli, T. (2019), “Acoustic effects at prehistoric landscapes: an archaeoacoustics analysis of rock art sites from Western Mediterranean”, M. Vorländer y J. Fels (eds.), Proceedings of the 23rd International Congress on Acoustics 9 to 13 September 2019 in Aachen, Germany, Berlin, German Acoustical Society, pp. 281-287. (en línea)
• Díaz-Andreu, M. y Mattioli, T. (2019), “Rock Art, music and acoustics: a global overview”, B. David y I. J. McNiven (eds.), The Oxford Handbook of the Archaeology and Anthropology of Rock Art, Oxford, Oxford University Press, pp. 503-528.
• Díaz-Andreu, M., Mattioli, T. y Rainsbury, M. (2021), “The cultural understanding of sound in rock art landscapes: the limits of interpretation”, J. M. Gjerde y M. S. Arntzen (eds.), Perspectives on Differences in Rock Art, Proceedings of the ACRA III - The Alta Conference on Rock Art III, Alta, Norway 15-18 September 2015. London, Equinox, pp. 244-265.
• Diedrich, C. G. (2015), “Neanderthal bone flutes: simply products of Ice Age spotted hyena scavenging activities on cave bear cubs in European cave bear dens”, Royal Society Open Science, 2, 4, pp. 140022.
• Duchesne-Guillemin, M. (1981), “Music in Ancient Mesopotamia and Egypt”, World Archaeology, 12, 3, pp. 287-297.
• Fages, G. y Mourer-Chauvire, C. (1983), “La flute en os d’oiseau de la grotte sepulcrale de Veyreau (Aveyron) et inventaire des flútes préhistoriques d’Europe”, F. Poplin (ed.), La Faune et L’Homme préhistorique: dix études en hommage á Jean Bouchoud, Paris, Société Préhistorique Française, pp. 95-103
• Fagg, B. (1957), “Rock gongs and rock slides”, Man, 57, pp. 30-32.
• Fazenda, B., Scarre, C., Till, R., Jiménez Pasalodos, R., Rojo Guerra, M., Tejedor, C., Peredo, R. O., Watson, A., Wyatt, S., García Benito, C., Drinkall, H. y Foulds, F. (2017), “Cave acoustics in prehistory: Exploring the association of Palaeolithic visual motifs and acoustic response”, Journal of the Acoustical Society of America, 142, 3, pp. 1332.
• Feld, S. (1982), Sound and Sentiment: Birds, Weeping, Poetics, and Song in Kaluli expression, University of Pennsylvania Press.
• Fétis, F.-J. (1869), Histoire générale de la musique depuis les temps les plus anciens jusqu’à nos jours, Paris, Firmin-Didot.
• Floss, H. (2015), “The Oldest Portable Art: the Aurignacian Ivory Figurines from the Swabian Jura (Southwest Germany)”, Palethnologie, 7, http://journals.openedition. org/palethnologie/888 Fritz, C., Tosello, G., Fleury, G., Kasarhérou, E., Walter, P., Duranthon, F., Gaillard, P. y
• Tardieu, J. (2021), “First record of the sound produced by the oldest Upper Paleolithic seashell horn”, Science Advances, 7, 7, pp. eabe9510.
• Garate, D., Labarge, A., Rivero, O., Intxaurbe, I., Barshay-Szmidt, C. y Normand, C. (2019), “Another bone in the wall: towards a characterisation of the objects placed in wall fissures at Isturitz cave (Pyrénées-Atlantiques, France)”, Archaeological and Anthropological Sciences, 11, 12, pp. 6875-6887.
• García Benito, C. (2013), “The experimentation process in the skin of the researcher: the case of the Isturitz, Le Placard and Saint-Marcel ‘Whistles’”, G. Compañy, J. Fonte, B. Gómez-Arribas, L. Moragón y J. M. Señorán (eds.), Actas de las V Jornadas de Jóvenes en Investigación Arqueológica, Arqueología para el siglo XXI, Santiago de Compostela, mayo de 2012, Santiago de Compostela, JAS Arqueología, pp. 187-191.
• Higham, T., Basell, L., Jacobi, R., Wood, R., Ramsey, C.B. y Conard, N.J. (2012), “Testing models for the beginnings of the Aurignacian and the advent of figurative art and music: the radiocarbon chronology of Geißenklösterle”, Journal of Human Evolution, 62, pp. 664-676.
• Huyge, D. (1991), “The ‘Venus’ of Laussel in the light of Ethnomusicology”, Archeologie in Vlaanderen, 1, pp. 11-18.
• Ibáñez, J. J., Salius, J., Clemente-Conte, I. y Soler, N. (2015), “Use and Sonority of a 23,000-Year-Old Bone Aerophone from Davant Pau Cave (NE of the Iberian Peninsula)”, Current Anthropology, 56, 2, pp. 282-289.
• Jiménez Pasalodos, R. (2020): Las trompetas de cerámicas celtibéricas: una aproximación al patrimonio arqueológico musical de la Segunda Edad del hierro. Tesis Doctoral, Universidad de Valladolid.
• Jiménez Pasalodos, R. y Rainio, R. (2020), “Missing Membranophones? Traditional Drumbeaters in Northern Eurasia and Possible Prehistoric Parallels in European Archaeological Collections”, G. Kolltveit y R. Rainio (eds.), The Archaeology of Sound, Acoustics and Music, Berlin, Ekho Verlag, pp. 233-276.
• Kirchner, H. (1952), “Ein Archäologischer Beitrag Zur Urgeschichte Des Schamanismus”, Anthropos, 47, 1, pp. 244-286.
• Larsson, L. (1988), Ett fångstsamhälle för 7000 sedan: Boplatser och gravar i Skateholm, Lund, Signum
• Lawergren, B. (2006), “Neolithic Drums in China”, E. Hickmann y R. Eichmann (eds.),Studien zur Musikarchaologie V, Radhen, Marie Leidorf, pp. 109-127.
• Lawson, G. y d’Errico, F. (2002), “Microscopic, Experimental and Theoretical Re-Assessment of Upper Palaeolithic Bird-Bone Pipes from Isturitz, France: Ergonomics of Design, Systems of Notation and the Origins of Musical Traditions”, E. Hickmann, A. Kilmer y R. Eichmann (eds.), Studien zur Musikarchäologie III, Radhen, M. Leidorf, pp. 119-142.
• Lbova, L. (2010), “Evidence of modern human behavior in the Bailkal zone during the early upper paleolithic period”, Bulletin of the Indo-Pacific Prehistory Association, 30, pp. 9-13.
• Lbova, L. V., Volkov, P. V., Kozhevnnikova, D. V. y Kulakobskaya, L. V. (2013), “Upper Paleolithic ‘Sounding Artifacts’ from Mesin, Ukraine: modification marks”, Archaeology, Ethnology and Anthropology of Eurasia, pp. 22-32.
• Levin, T., With Valentina Süzükei (2006), Where Rivers and Mountains sing. Sound, Music and Nomadism in Tuva and Beyond, Bloomington, Indianapolis, Indiana University Press.
• Lewis, J. (2013), “A Cross-Cultural Perspective on the Significance of Music and Dance to Culture and Society: Insight from BaYaka Pygmies”, M. A. Arbib (ed.), Language, Music, and the Brain, Cambridge (MA), The MIT Press, pp. 45-65
• Li, L. (2000), “Ancestor worship: An archaeological investigation of ritual activities in Neolithic North China”, Journal of East Asian Archaeology, 2, 1, pp. 129-164. List, G. (1971), “On the Non-Universality of Musical Perspectives”, Ethnomusicology, 15, 3, pp. 399-402.
• Li, L (1984), “Concerning the Concept of the Universal and Music”, The World of Music, 26, 2, pp. 40-49.
• Luca, S. (2014), Art and religious beliefs in the Neolithic and Aeneolithic from Romania, Sibiu, Ministeri Culturii. Muzeul National Brukenthal.
• Lund, C. (1981), “The archaeomusicology of Scandinavia”, World Archaeology: Archaeology and musical instruments, 12, 3, pp. 246-265.
• Lund, C. (2010), “Music Archaeology in Scandinavia”, S. Mirelman (ed.), The Historiography of Music in Global Perspective, New Jersey, Gorgias Press, pp. 177-207.
• Lund, C. y Larsson, G. (1974), Klang i Flinta och brons. Catálogo de exposición, Stockholm, Musikmuseet.
• Macadam, R. (1860), “Ancient Irish Trumpets”, Ulster Journal of Archaeology, 8, pp. 99-110. Marin, C., Cristina, N. E., Teodor, O., Ovidiu, C., Ionuț, L. F. y Marian, L. (2019), “Wind instruments in the mid upper palaeolithic of the eastern carpathians”, Annales d’Universite ‘Valahia’ Targoviste, Section d’Archeologie et d’Histoire, 1, 21, pp. 7-19.
• Martí Oliver, B., Arias-Gago Del Molino, A., Martínez Valle, R. y Juan-Cabanilles, J. (2001), “Los tubos de hueso de la Cova de L’Or (Beniarrés, Alicante). Instrumentos musicales en el Neolítico Antiguo de la Península Ibérica”, Trabajos de Prehistoria, 58, 2, pp. 41- 67.
• Mattioli, T. y Díaz-Andreu, M. (2017), “Hearing rock art landscapes. A survey of the acoustical perception in the Sierra de San Serván area in Extremadura (Spain)”, Time and Mind, 10, 1, pp. 81-96.
• Mattioli, T., Farina, A., Armelloni, E., Hameau, P. y Díaz-Andreu, M. (2017), “Echoing landscapes: echolocation and the placement of rock art in the Central Mediterranean”, Journal of Archaeological Science, 83, pp. 12-25.
• Mazo Pérez, C., García Benito, C. y Alcolea Gracia, M. (2015), “Un caso de Arqueología Experimental aplicado a la Arqueología Musical”, Salduie, 15, pp. 65-91.
• Megaw, J. V. S. (1984), “Problems and non-problems in palaeo-organology: a musical miscellany”, J. M. Coles y D. D. A. Simpson (eds.), Studies in ancient Europe: Essays presented to Stuart Piggott, Leicester, Leicester University Press, pp. 333-358.
• Merriam, A. P. (1964), The Anthropology of music, Evanston, Northwestern University Press.
• Münzel, S., Seeberger, F. y Hein, W. (2002), “The Geißenklösterle Flute – Discovery, Experiments, Reconstruction”, E. Hickmann, A. Kilmer y R. Eichmann (eds.), Studien zur Musikarchäologie III, Radhen, Marie Leidorf, pp. 107-118.
• Nettl, B. (2005), The study of ethnomusicology: thirty-one issues and concepts, Urbana, University of Illinois Press.
• Normand, C., Goutas, N., Lacarrière, J. y Simonet, A. (2012), “El Gravetiense de la cueva de Isturitz: nuevas investigaciones, nuevos datos”, C. de las Heras Martín, J. A. Lasheras Corruchaga, A. Arrizabalaga Valbuena y M. de la Rasilla Vives (eds.), Pensando el Gravetiense: nuevos datos para la región cantábrica en su contexto peninsular y pirenaico, Museo Nacional y Centro de Investigación de Altamira, pp. 161-183.
• Olsen, D. A. (2001), Music of El Dorado The ethnomusicology of ancient south American cultures, Gainesville, University Press of Florida.
• P. (1833), “Ancient Irish Trumpets”, The Dublin Penny Journal, 2, 56, pp. 27. Passemard, E. (1913), “Fouilles à Isturitz (Basses-Pyrénées)”, Bulletin de la Société Préhistorique Française, pp. 647-649.
• Peyrony, D. (1930), “Sur quelques pièces intéressantes de la grotte de La Roche, près de Lalinde (Dordogne)”, L’Anthropologie, 40, pp. 19-29.
• Piette, É. (1874a), “Une flûte néolithique”, Comptes rendus de l’Académie des Sciences, 79, pp. 56-60.
• Piette, É. (1874b), “La flûte composée à l’Age du Renne”, Comptes rendus de l’Académie des Sciences, 79, pp. 1277-1278.
• Piggott, S. (1959), “The Carnyx in Early Iron Age Britain”, The Antiquaries Journal, 39, 1-2, pp. 19-32.
• Pomberger, B.-M., Kotova, N. y Stadler, P. (2018), “Flutes of the first European farmers”, Ann. Naturhist. Mus. Wien, Seria A., 120, pp. 453-470.
• Rainio, R. y Mannermaa, K. (2014), “Tracing the rattle of animal tooth pendants from the Middle Neolithic graves of Ajvide, Gotland, Sweden”, World Archaeology, 46, 3, pp. 332-348.
• Reynolds, P. J. (1979), Iron-age farm: the Butser experiment, London, British Museum Publications.
• Reznikoff, I. (1987), “Sur la dimension sonore des grottes à peintures paléolithiques”, Comptes rendus de l’Académie des Sciences, tome 304, série II, y tome 305, série II, Paris, pp. 153-156 y 307-310.
• Reznikoff, I. (2008), “Sound resonance in prehistoric times: A study of Paleolithic painted caves and rocks”, The Journal of the Acoustical Society of America, 123, 5, pp. 4138-4141.
• Reznikoff, I. (2012), “On the Sound Related to Painted Caves and Rocks”, J. Ikäheimo, A.-K. Salmi y T. ÄIkä (eds.), Sounds Like Theory. XII Nordic Theoretical Archaeology Group Meeting in Oulu 25.–28.4.2012. Monographs of the Archaeological Society of Finland 2, Helsinki, The Archaeological Society of Finland, pp. 101-109.
• Reznikoff, I. y Dauvois, M. (1988), “La dimension sonore des grottes ornées”, Bulletin de la Société Préhistorique Française, 85, 8, pp. 238-246.
• Rubio De Miguel, I. y Baena Preysler, J. (2002), “Instrumentos musicales en la Prehistoria: dificultades y vías de estudio”, Patrimonio Musical, Granada, Centro de Documentación Musical de Andalucía, pp. 161-186.
• Russell, N. (2005), “Çatalhöyük Worked Bone”, I. Hodder (ed.), Changing Materialities at Çatalhöyük: Reports from the 1995–99 Seasons, Ankara, British Institute, pp. 339-368.
• Sabin, A. L., Papureanu, A.-M. y Florescu, C. T. (2018), “A possible musical instrument made from a fossil valve belonging to the family of Ostreidae (Rafinesque, 1815) from Tartaria Gura Luncii (Systematic Research Campaign 2018), Transylvania, Romania”, Brvkenthal Acta Mvsei, Sibiu / Hermannstadt, Ministerul Culturii, pp. 35-62.
• Salimpoor, V. N., Benovoy, M., Larcher, K., Dagher, A. y Zatorre, R. J. (2011), “Anatomically distinct dopamine release during anticipation and experience of peak emotion to music”, Nature Neuroscience, 14, 2, pp. 257-262.
• Scarre, C. y Lawson, G. (eds.), (2006), Archaeoacoustics, Cambridge, Cambridge University Press.
• Seeger, A. (1987), Why Suyá sing: a musical anthropology of an Amazonian people, Cambridge, Cambridge University Press.
• Shi-Yue, L. (1988), “Neolithic bone flutes from Hemudu, China”, E. Hickmann y D. W. Hughes (eds.), The Archaeology of Early Music Cultures. Third International Meeting of the ICTM Study Group of Music Archaeology, Bonn, Verlang für systematische Musikwissenschaft GMBH, pp. 51-53.
• Skeates, R. (1991), “Triton’s trumpet: a Neolithic symbol in Italy”, Oxford Journal of Archaeology, 10, 1, pp. 17-31.
• Stone, W. H. (1878), “Experiments on Ancient Instruments”, The Musical Times and Singing Class Circular, 19, 422, pp. 204-205.
• Thomsen, C. J. (1848), Guide to Northern Archaeology by the Royal Society of Northern Antiquaries of Copenhagen (English translation), London, James Bain.
• Tilley, C. Y. (1994), A phenomenology of landscape: places, paths and monuments, Oxford, Berg.
• Trehub, S. E., Becker, J. y Morley, I. (2015), “Cross-cultural perspectives on music and musicality”, Philosophical Transactions: Biological Sciences, 370, 1664, pp. 1-9.
• Tsuge, G. I. (1988), “Stone and Clay Aerophone in Early Japan”, E. Hickmann y D. W. Hughes (eds.), The Archaeology of Early Music Cultures. Third International Meeting of the ICTM Study Group of Music Archaeology, Bonn, Verlang für systematische Musikwissenschaft GMBH, pp. 89-96.
• Tuniz, C., Bernardini, F., Turk, I., Dimkaroski, L., Mancini, L. y Dreossi, D. (2012), “Did Neanderthals play music? X-Ray computed micro-tomography of the Divje Babe ‘flute’”, Archaeometry, 54, 3, pp. 581-590.
• Țurcanu, S. (2018), “The Birds in the Imaginarium of Cucuteni-Trypillia World. New Plastic Representations”, S. Țurcanu y C.-E. Ursu (eds.), Materiality and Identity in Pre- and Protohistoric Europe. Homage to Cornelia-Magda Lazarovici. Suceava, The Bucovina Museum, pp. 297-343.
• Turk, I. (ed.) (1997) Mousterian bone flute and other finds from Divje Babe I cave site in Slovenia, Ljubljana, Instituti Archaeologici Sloveniae.
• Turk, M., Turk, I. y Otte, M. (2020), “The Neanderthal Musical Instrument from Divje Babe I Cave (Slovenia): A Critical Review of the Discussion”, Applied Sciences, 10, 4, pp. 1226.
• Villalba, M. J., Bañolas, L., Arenas, J. y Alonso, M. (1986), Les Mines neolítiques de Can Tintorer. Gavà. Excavacions 1978-1980, Barcelona, Generalitat de Catalunya
• Vitezović, S. (2017), “Musical Instruments in the Central Balkan Neolithic”, O. Tutilă, N. C. T. L. RişCuţA y I. V. Ferencz (eds.), Archaeological small finds and their significance. Proceedings of the Symposium Games and Toys, Cluj-Napoca, Editura Mega, pp. 7-15.
• Von Hornbostel, E. M. y Sachs, C. (1961), “Classification of Musical Instruments: Translated from the Original German by Anthony Baines and Klaus P. Wachsmann”, The Galpin Society Journal, 14, pp. 3-29
• Walker, J. C. (1786), Historical Memoirs of the Irish Bards. Interspersed with Anecdotes of the Music of Ireland. Also, an Historical Account of the Musical Instruments of the Ancient Irish. And an Appendix, containing Select Irish Melodies, London, Printed for T. Payne and Son.
• Waller, S. J. (1993), “Sound reflection as an explanation for the content and context of rock art”, Rock Art Research, 10, 2, pp. 105-113.
• Waller, S. J. (1993), “Legends of Echoes Linked through Acoustics to Prehistoric Art”, Journal of the Acoustical Society of America, 106, pp. 2227.
• Watson, A. (2001), “The sounds of transformations: acoustics, monuments and ritual in the British Neolithic”, N. Price (ed.), The Archaeology of Shamanism, Londres, Routledge, pp. 178-192.
• Watson, A. y Keating, D. (1999), “Architecture and sound: an acoustic analysis of megalithic monuments in prehistoric Britain”, Antiquity, 73, 280, pp. 325-336.
• Wyatt, S. (2006), The Drums of the Southern TRB Culture. PhD, University of Edinburgh.
• Wyatt, S (2010), “Psychopomp and Circumstance or Shamanism in Context”, R. Eichmann, E. Hickmann y L. C. Koch (eds.), Studien zur Musikarchäologie VII, Radhen, Marie Leidorf, pp. 129-150.
• Wyatt, S (2012), “Sound Production in Early Aerophones. Short Report on a Work in Progress”, R. Eichmann, F. Jianjun y L.-C. Koch (eds.), Studien zur Musikarchäologie VIII, Radhen, M. Leidorf, pp. 393-398.
• Xinghua, X. (2002), “On the Musical Civilisation of the Neolithic Age in China as Illustrated by the Ancient Bone-Flutes (from 9,000 to 7,800 years ago) unearthed at Jiahu, Henan Province”, E. Hickmann, R. Eichmann y A. Kilmer (eds.), Studien zur Musikarchäologie III, Rahden, Marie Leidorf, pp. 161-167.
• Zhang, J. y Cui, Q. (2013), “The Jiahu Site in the Huai River Area”, A. P. Underhill (ed.), A Companion to Chinese Archaeology, Oxford, Blackwell, pp. 194-212.
• Zhang, J., Harbottle, G., Wang, C. y Kong, Z. (1999), “Oldest playable musical instruments found at Jiahu early Neolithic site in China”, Nature, 401, 6751, pp. 366-368.
• Zhang, J., Xinghua, X. y Lee, Y. K. (2004), “The early development of music. Analysis of the Jiahu bone flutes”, Antiquity, 78, 302, pp. 769-778.
• Zhang, J. y Xinghua, X. (2002), “Music in the 7th Millenium B.C.: The Natural and Social Background of the Origin of the Jiahu Bone-Flutes, Central China”, E. Hickmann, R. Eichmann y A. Kilmer (eds.), Studien zur Musikarchäologie III, Rahden, Marie Leidorf, pp. 147-153.
• Gourlay, K. A. (1984), “The Non-Universality of Music and the Universality of Non-Music”, The World of Music, 26, 2, pp. 25-39.
• García Benito, C. y Jiménez Pasalodos, R. (2011), “La música enterrada: Historiografía y Metodología de la Arqueología Musical”, Cuadernos de Etnomusicología de la SIBE, 1, pp. 80-108.