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Prehistoric Flute In Germany Is Oldest Known

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Patrick McGroarty, AP, June 24, 2009

A bird-bone flute unearthed in a German cave was carved some 35,000 years ago and is the oldest handcrafted musical instrument yet discovered, archaeologists say, offering the latest evidence that early modern humans in Europe had established a complex and creative culture.

A team led by University of Tuebingen archaeologist Nicholas Conard assembled the flute from 12 pieces of griffon vulture bone scattered in a small plot of the Hohle Fels cave in southern Germany.

Together, the pieces comprise a 8.6-inch (22-centimeter) instrument with five holes and a notched end. Conard said the flute was 35,000 years old.

“It’s unambiguously the oldest instrument in the world,” Conard told The Associated Press this week. His findings were published online Wednesday by the journal Nature.

The reassembled instrument was too fragile to be played, but Conard worked with another academic to make a copy of it from the same type of bone and to play it and produce recordings of songs such as “The Star-Spangled Banner.”

Other archaeologists agreed with Conard’s assessment.

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Together, the flute and the figure—found in the same layer of sediment—suggest that modern humans had established an advanced culture in Europe 35,000 years ago, said Wil Roebroeks, an archaeologist at Leiden University in the Netherlands who didn’t participate in Conard’s study.

Roebroeks said it’s difficult to say how cognitively and socially advanced these people were. But the physical trappings of their lives—including musical instruments, personal decorations and figurative art—match the objects we associate with modern human behavior, Roebroeks said.

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Neanderthals also lived in Europe around the time the flute and sculpture were made, and frequented the Hohle Fels cave. Both Conard and Roebroeks believe, however, that layered deposits left by both species over thousands of years suggest the artifacts were crafted by early modern humans.

“The material record is so completely different from what happened in these hundreds of thousands of years before with the Neanderthals,” Roebroeks said. “I would put my money on modern humans having created and played these flutes.”

{snip}

Nowell said other researchers have hypothesized that early humans may have used spear points as wind chimes and that markings on some cave stalactites suggest they were used as percussive instruments. But there is no proof, she said, and the Hohle Fels flute is much more credible because it’s the oldest specimen from an established style of bone and ivory flutes in Europe.

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Conard said it’s likely that early modern humans—and perhaps Neanderthals, too—were making music longer than 35,000 years ago. But he added the Hohle Fels flute and the others found across Europe strengthen evidence that modern humans in Europe were establishing cultural behavior similar to our own.

Original article

(Posted on June 25, 2009)

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Comments

1 — Bandmo wrote at 6:51 PM on June 25:

Just how long will it take for the blacks to take credit for this?

2 — sbuffalonative wrote at 7:27 PM on June 25:


Ivory sculpture in Germany could be world’s oldest

http://tinyurl.com/p6za9c

While blacks tell us about the ‘master drummers of Africa’, western man was engineering harpsichords, pianos, violins, et al.

Think about the engineering and the talent it takes to read music and master a violin as compared to beating on a stretched skin.

Have you seen the earliest banjos? It consisted of a gourd on a stick and likely sounded like one. It wasn’t until it arrived in the New World that it became what see today.

3 — Anglokraut wrote at 9:34 PM on June 25:

I taught myself to play the flute with nothing more than a fingering chart and my own curiosity and drive. My school wasn’t interested in teaching me anything other than the clarinet, so I taught myself. I learned the saxophone and oboe in the same manner. Music is one of the best ways to build a child’s brain, and passing on that knowledge is one of the things I can’t wait to do when I have children.

4 — Whitey Ford wrote at 8:50 AM on June 26:

We all know evil white Germans stole that bird-bone flute from an African. They probably stole his motorized glider and his bamboo computer too. When will the racism stop?

5 — convairXF92 wrote at 6:53 PM on June 26:

sbuffalonative writes:
Think about the engineering and the talent it takes to read music and master a violin as compared to beating on a stretched skin.


just to note: symphonic timpanists might take issue with this. They do need to read music, for one thing (about an octave and a half of bass clef for their own parts), and in fact should be able to read an entire orchestra score (so they know how their part fits in with the others).

Also they don’t just beat a drum, but need to master numerous subtleties of tone quality. (So did the West Africans, at least some of them: the “talking drum” actually imitates the amplitude envelope of, and some of the frequency characteristics of, simple meaningful speech, and is intended to be understood. Modern Western composers—look up “spectralists” on Google—are currently struggling to get the modern orchestra to simulate human speech. Though, unlike the Africans, their minds are using a large body of European products of Science and Reason, particularly the Fourier transform.)

Modern, big-orchestra timpani are a wonder of engineering: the pedals that permit easy quick tuning changes do their job via a huge mess of hydraulics and sophisticated engineering. Though, admittedly, most of this technology was probably developed beforehand for other machinery e.g. moving vehicles (while the violin was optimized, via trial and error over the centuries, for its own sake). The “stretched skin” has been largely replaced by modern plastics: it’s actually much harder to get good consistent tone out of natural skin, as humidity makes it stretch, though the very best timpanists do prefer calfskin for its warmer tone.

Percussionists do seem to be less intent on developing highly optimized instruments than string or wind players, possibly because their attitude seems to be one of “anything in one’s surroundings can produce a useful sound”. Therefore, pots and pans in the orchestra.

6 — OCCAM wrote at 6:03 PM on June 27:

SBUFFALONATIVE,

A bit more knowledge cannot be a dangerous thing.

There are a number of indigenous African string instruments. Think of the thumb piano of East Africa that has the full range of all possible notes. And the 18 string Kora of West Africa that produces some of the most exquisite and aesthetically pleasing sounds. And the balafon is also of West African provenance with its xylophone-like sounds. The African banjo—with its 4 or 5 strings is also of African provenance. Add to that all kinds of flutes, lutes, harps and drums. No wonder that Africans and their overseas progeny are the world’s masters of music of all kinds.

7 — Barry wrote at 3:02 AM on June 29:

OCCAM wrote at 6:03 PM “No wonder that Africans and their overseas progeny are the world’s masters of music of all kinds.”

How can you possibly justify that statement? Where does that leave Menuhin, Perlman, Casals, Brendel, Dennis Brain - I could fill pages. Also, in case you hadn’t noticed, the world includes the Far East, which gets along quite well without African ‘masters’.

8 — Alison wrote at 9:28 AM on June 29:

OCCAM: “And the 18 string Kora of West Africa that produces some of the most exquisite and aesthetically pleasing sounds.”

So does my wind chime but it’s not a Stradivarius. It’s a hollowed out vegetable, for goodness sake!


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