Two years ago i was in contact with Albin Paulus from Vienna, he makes and playes european Iron Age music on old instruments - recos of the old iron age's music instruments.
Here are some samples on the link: http://www.austriaca.at/7002-0samples
He made with his friends a new CD, i have ordered it today.
I miss really the authentic celtic music on our historical events. I am really glad thatfore.
There is a couple from Ireland who do this sort of thing. I met them briefly quite a few years back and they had some amazing instruments. A number of those funny shape horn type things I've seen a few Celtic reenactors running around with.
They are here http://homepage.eircom.net/~bronzeagehorns/index.html
We don't know what their music sounded like, since few bits of written tablature have survived. The Greeks had a system of musical notation, and that has been deciphered. We know the general range of the musical abilities of various instruments, too, but that does not give us melody or tempo.
And we don't know the pitch of the now-extinct species of goats and sheep, but modern sheep seem to exhibit a common style of bleating.
I 've ordered it today via e mail and phone call.
Seems there is with the CD an article of some Celtologists, like Dr. David Stifter (with him was years in e mail contact, too) and i hope, there will be more explained about this music style.
But i think that some analogies we have, seems the pentatonic tonal system is very old style of playing music and some native&cultic&trad music traditions are very old, too. Sure, it is an experiment but still much better as the "modern" "celtic" music with a violine and other modern instruments in Irish&Scotisch folk-music. Some of the samples of this CD sounds like old native provence-bourgundian and bretagnian music. I am sure they are very old but nobody can say and to prove, how old. Otherway we know some music items in trad. native music playing f.ex. with panflute, or with other old traditional instuments and we can use and to study this tempos, this tonal systems etc... =mostly the pentatonic systems and added them some other instruments in the matter of old iron age. It is the same like the other material reconstructions: we don't know how was the la Tenne tunic look like, etc. but all celtic reenactors are wearing them. I use the symbolical paralelle (example).
The bronze age music and some instruments i know, i have CD from Germany with music of the BA Luren - but here is music of the continental old iron age with instruments, wich we can see on the situlas.
Otherway nobody can prove and to define exactly, what kind of taste had the roman food - but there are a lot of roman delicious food on the events.
Back onto music, here is an image from a mosaic currently in the Vatican museums. The piper has what appears to be a squeezebox under his foot, there is another musician who has a clapper, I'll dig the photo out.
Up north, I believe the technique is to put wellies on their front legs, and
stand them at the edge of a cliff, and then....well, sheep shaggers will be familiar with what happens next.... :mrgreen:
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Quote:Up north, I believe the technique is to put wellies on their front legs, and
stand them at the edge of a cliff, and then....well, sheep shaggers will be familiar with what happens next.... :mrgreen:
Reconstructing the instruments is one thing, I undertook a lot of reconstruction work myself for some of the analysis of sound devices inside Neolithic chambered tombs of Wales and Scotland. Scales are contentious, as are intervals within any given musical form if we try and impose that musical form on to an era where no structured notation exists.
We worked with a number of dischords inside tombs to consider how the modern day requirements of acoustic engineering to eliminate phenomena such as flutter echoes and standing waves would be reversed to achieve an altered state within a confined space. If you want to hear more music from prehistoric constructions, look up the Kilmartin Project with Simon O'Dwyers reconstructions of the bronze horns.
I am currently working in the studio on a new album of prehistoric sounding devices which I'll post some links to when it is finished and mastered. I will be experimenting with sound frequencies and combinations of soundscapes which are designed to immerse rather than simply being 'auditory cheesecake'
My chapter on the psycho-acoustic effects of sounding devices in particular spaces related to ritual immersion can be read in the following book:
There is another piper who looks as if he has a clapper under his foot, there is a definate space and another dancer. I'll scan them soon and post them up.
