Musical Time Machine-ethnoarchaeology of musical instruments (musical instruments from the archaeological collections in museums in Serbia and traditional folk musical

instruments of Serbia)

Marija Rakić-Lovrić, master ethnomusicologistIndependent researcher

Milena Vasiljević

Indipendent researcher

1. A musical archeology as a scientific discipline, research methods and interdisciplinary connections to the related sciences

Musical instruments are present since the first root of man's conscious activity. The oldest musical instruments in the world are dated in the Palaeolithic - Europe, Germany (Ulm, bone flutes, 42000gpne); Africa; Middle East, Mesopotamia (Ur, harps, 2750 BC); Asia, China (bone flutes, 9000-7000 BC); America (North America, Belle Isle coast in Southern Labrador, bone flutes, 5500 BC). These archaeological finds show us how music was an important factor in the formation of man as a conscious being, as is originating from the time of the formation of the first man and culture.Music archeology, as well as interdisciplinary science and compound ethnomusicology and archeology has created interest and ethnomusicologist scientists working within the ICTM (International Council for Traditional Music, a non-governmental organization that works in cooperation with UNESCO) to consolidate knowledge and tap into the emergence and development of music. The first combination of these disciplines took place at the conference of the International Association of musicologists at Berkeley in 1977, at a round table on the topic "Music and archaeology'', where the experts had the opportunity to discuss archaeological musical heritage of ancient civilizations - Israel, Mexico, Egypt, China, Scandinavia. At this meeting it was presented to the discovery of Anne D. Kilmer, assyrologist from Berkeley, which has managed to ancient Mesopotamian system of notation decipher and transcribe in Staff of Western notation. The record was from the late Bronze Age - hymn to the Hurrian language. With the help of the musicologist Richard L. Crocker from Berkeley and Robert Braun, the instrument maker who made a replica of Summerian lyre, they managed to record this tune and publish it as Kilmer / Crocker / Brown, Sounds from Silence, Recent Discoveries in Ancient Eastern Music (LP with information booklet, Bit Enki Publications, Berkeley, 1976). Results of research scientists led to the need for establishing an interdisciplinary department in 1981 in Seoul, Korea, this association has continued to maintain conferences around the world: Stockholm in 1984, Hanover in 1986, Saint-Germain-Laye An- 1990, Liz 1992, Istanbul in 1993.-1994, Cyprus in 1996, and so on. In 1988, Ellen Hi man and Ricardo Ahjman, within the ICTM, the established international study group for musical archeology, in order to secure better

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cooperation with archaeologists worldwide. Since then, the group maintains its own individual conferences and symposiums, and after symposium in 2013 in Guatemala, their work was crowned with the edition of Publications of the ICTM study group of music archeology. Some of the important world of associations involved in musical archeology, in addition to the above ICTM are: the ISGMA - International Study Group on Music Archaeology, Germany; EMAP - European Music Archaeology Project. The results of their research are crucial for further engagement musical archeology, both in the world and in Serbia, because they can provide the addition to the starting point and reference results for comparison.In the further course we will discuss the methodological procedures of musical archeology. As the most important we will point out the principles of interdisciplinarity that are combined in musical archeology, and will also be presented the results of research in this field in Serbia. However, the moment that stands out here is the exploration of musical instruments from prehistoric times - it should be noted that musical archeology explores all kinds of music taht man performed, from prehistory: notation, vocal performance, vocal and instrumental performance (as stated in the previous section), instruments. However, now we will concentrate only on the approach to the research of musical instruments. The ultimate objective, the most important moment of presenting the results of these studies and how they can inkoroporate in the modern trends of research and the creation of music, which will contribute deeper understanding of the continuity of musical creativity.The starting point is a combination of methodological principles of archeology and ethnomusicology, which music archaeology is consisted of. Archaeology, for a start, makes available the artifacts that were found during excavations, then gives an insight into the age of the instrument and its cultural background, based on museum documentation and museum cardboard. From insights into this type of material we obtain information about the instrument:1. locality; 2. archaeological layer; 3.context-finding period, the culture to which it belongs; 4. museum data-years when the instrument was found, a collection in which it is stored, inventory number.These data provide information on when the instrument is made and used and which belong to the culture (Paleolithic, Neolithic, etc).As far as the ethnomusicological method, adopted from organological researches - data collection of an instrument through a survey about: 1. the material which is made; 2. size, shape; 3. the characteristics of the instrument - for example, if it comes to aerophones, data on the size of the holes, diameter holes, holes schedule; 4. the sound on it can get, the tone sequence if the instrument melody;5. which belongs to a group of instruments (idiophones, aerophones, chordophones,membranophones).In symbiosis between these two methods we come to complete data on one artifact, in this case musical instrument and we can be able to identify every aspect of these artifacts that are available. In this way we can get the complete data that allow us to move on. By collecting information on certain instruments of cultural belonging (the term in archeology, refers to the period in which it is found) and further comparing them, we can come to a better and clearer picture of the instruments, the music and its role within a certain period of human development. This problem can be approached in another way - if there are datas for a group of instruments

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(eg. aerophones) across various cultural layers, they can be classified by type (eg flutes, ocarinas, etc.), and then they can be further analysed; through this metod we can try to track down the development of one instrument in different periods of time. Also, an important segment is an attempt to reconstruct the technical possibilities of performing on an instrument. The most complete result of a researcg would be to create a replica of the instrument, if the researcher is able to do that, with the help instrument makers - so that the researcher can be able to write a complete series of tones and sound characteristics of the instrument.Of great importance is the creation of a comparative study of archaeological and organological characteristics of musical instruments, with the help of data from the relevant literature and that comparison could be clearer and more complete.With ethnomusicological point of view, musical instruments from the archaeological collections of the museum can be classified into categories established by Sax-Hornbostel system (which is otherwise customary in ethnomusicology), which is the starting point for organology in general (scientific discipline that deals with the study of musical instruments in the ethnomusicology) . After Sax-Hornbostel division, there are idiophone, membranophone, cordophone and aerophone musical instruments. This universal, general and comprehensive division of musical instruments has enabled ethnomusicologists around the world that they can, in the simplest way possible, classify certain musical instruments that do not belong to Western European art music tradition into categories based on their basic characteristics - the way the sound gets (idiophones – they vibrate by themselves, membranophones - vibrating membrane provides a sound, cordophones - string, aerophones - air flow in function of a sound production).There are several ways to classify musical instruments from the Museum's collections: the first would be organological (Sax-Hornbostel system), the second chronological (by periods which are dated instruments: paleolithic, neolithic, etc). This of course depends on the goal we want to achieve, ie whether it is in the forefront of research a particular instrument or group of instruments or the historical period that we want to talk. Of course, the most comprehensive way would be to introduce one in all the instruments found in one cultural layer, and on the other hand do comparative research on the development of each instrument individually. Since there are very small amount of instruments from ancient periods found, as a further objective could be to establish comparational method with other sites in Europe, as near as further ones, in order to obtain a more comprehensive picture of the development of man and his musicianship from the Paleolithic onwards.

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2. A musical instruments from the archaeological collections of the museums in Serbia-research results in the field of musical archeology in Serbia and the Balkans; connecting knowledge from the fields of archeology and modern music organological researches in the case of traditional musical instruments Serbia and the Balkans

Ethnomusicological and musicological researches concerning connection with musical instruments found at archaeological sites in the area of present-day Serbia were not yet done. Although in museums and museum storages there are numerous musical instruments from different periods, there was never actual cooperation between institutions, as well as individual researches: ethnomusicologists and archaeologists. As archaeologists are concerned, except for the occasional publication in professional journals and publications in the field of archeology, there wer no significant results in this discipline (concerning musical instruments). Many musical instruments are not properly processed, simply because of ignorance of the matter itself, even coming to the fact that they did not even recognize it as a musical instrument. On the other hand, the current musicological publications were only dealing with the iconography - the antique vases, Slovenian tombstones, and most of them from artistic representations of the Christian churches in Serbia and Macedonia. Therefore, literature for comparison in this presentation is based on the research works of scientists in the field of musical archeology from the neighboring countries (Slovenia - Svanibor Pettan, Macedonia - Trajan Jovcevska, Dragan Dautovski) and the archaeological discoveries of European countries in the same-similar archaeological layers (Germany, France, Ireland, Spain). In terms of archaeological and musicological researches and papers, however, some of them are scientifically challenged in terms of dating, organological features and functions of the instrument (Chase, Philip G. and Nowell, April: taphonomy of a suggested middle Paleolitic Bone flute from Slovenia , Current Anthropology 39, 1998).A study of this kind of cultural property is a very important scientific research, which not only researches the cultures of musical creativity of people from prehistoric times, but also the context of the development of culture, culture of living, as well as aspects of the lives of individuals and communities in which sound and music had an important place, and also the different purposes of music and musical instruments, from ritual and religious to the fun. What is particularly interesting is the abstraction of multi-ethnicity, discussions of the historical continuity of cultures and peoples who have lived in this area and left a legacy part of their culture. Through this approach could be essential to set what are the common features that can be traced chronologically in the development of music and musical instruments, as a reference to mutual interaction and acculturation processes (collisions of two or more different cultures), but also can speak about the processes enculturation (acceptance of elements of other cultures). This way allows us the differentiation of elements that have historically influenced the development of traditional musical instruments specific to certain cultural and ethnic groups that lived in what is now Serbia, and it is also possible to emphasize the richness of culture which is reflected in the specifics of these cultural groups, through their co-existence and permeation. Meetings of cultures and their mutual influences have contributed to the creation of subsequent instruments

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and tools in the territory of both Serbia and the central Balkans, in particular in the field of folk music.Conducted analyses of museum items related to musical instruments in the territory of Serbia through historical periods, ranging from prehistoric times to the late Middle Ages, highlighted certain results. Musical instruments that are in museums and archaeological depots in Serbia chronological can be dated to: Paleolithic, Neolithic, the period of classical antiquity, the Roman period, period of Slaves, early and late Middle Ages.By ethnomusicological method (Sax-Hornbostel system), identified musical instruments from the Museum's collections in Serbia can be classified into the following categories:1) Idiophones:1.Clay rattle, site Čurug, Novi Sad, the first century AD;2.Clay rattles in the shape of a bird, Margum, Pozarevac, Bronze Age and Roman-1500BC period;3.Bronze bell, the Roman period-end of II and the beginning III century BC, child`s tomb, the site Viminacijum (Caves);4.Bronze small bells, Margum, environment Pozarevac, Bronze Age and Roman period -1200BC;5.Bronze small bells, Migrations, catalog findings, Slav necropolis-IX-XI century AD;

2) Aerophones -1.A clay ocarina, Coal, Kosovo and Metohija, the early Neolithic, starčevo culture;2.Organ (hydraulos), Cuppae, environment Golupca, III century AD.3.Bone flutes, Krusevac environment;4.Bone flute, Viminacijum;5.Bone flute, Cuppae, near Golubac, Middle Ages;

From this survey, it can be seen that membranophones and chordophones are missing. It cannot simply mean that we can safely say that these instruments did not exist in this area, but that the possible reasons for this is that so far have not found or recorded, or in das simply made out of porous materials which could not have been preserved.

Organological characteristics of the instruments, their musical and symbolic function

IdiophonesAs idiophone instruments are concerned, we can observe that there is not much variety of instruments including previous findings - in terms of the small bells, bells and rattles. However, in the further course we will see what is the status of these instruments in the official archeology. Specifically, rattles, bells and small bells in archaeological circles in Serbia, were not considered musical instruments in the true sense of the word - archaeologists often refer to them as

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decorative objects, since they were found in the graves – this can indicate that they have apotropeic (protective) function-related are of beliefs about the afterlife. Also, the bells were often used at the front door as a means of defense against evil spirits; also are often unable to find a part of the harness.

AerophonesAs for the wind-instruments, bone flutes make the most of the findings. Dated in different periods, from Roman times through the Slav period to the early Middle Ages. Their organological characteristics can not be fully addressed in view of the fact that the majority concerned findings are damaged or fragmented findings. Therefore it can not be determined with precision the exact appearance of the instrument, or for example if they had the kind of mouthpiece, etc., then the tone sequence (this may be done if the reconstruction of the instrument). However, one thing we can safely say - played so far and most also found throughout the world and dated as the oldest musical instruments (flute from Slovenia, 43000gpne, the Neanderthal period, the Paleolithic era; Flutes from Germany, 40000 BC, Palaeolithic).There is one interesting finding from the territory of Kosovo, and that is Ocarina from Rudnik. This instrument is dated to the Neolithic period. Made of clay-terracotta, cone-shaped and has a hole at the top of the instrument and three additional holes at the widest part. It should be noted that this instrument is not only the wider region - there Ocarina found on the territory of Macedonia, which was deposited in the museum of the city of Veles, where Macedonian musician and music theorist Dragan Dautovski (professor of Macedonia University St. Cyril and Methodius in the department of folk instruments -kaval, bagpipes, tambura) performs ethno fusion of traditional and modern music makedonmske. For this instrument Macedonian archaeologists have found that date from the Neolithic period and that is about 6,000 years old and was found in the excavations at the site Marble around the city of Veles in 1989 by archaeologist Trajan Jovcevski and her colleagues. Now it is deposited in the museum of the city of Veles organology . Its features are tmat it`s also made of terracotta, round shape, contains three melodic holes drilled around the central axis of the instrument as well as one to blow air at the top - very similar ocarina from Kosovo. It was found in the section on the various ritual objects in grave, so Macedonian archaeologists assume that it had a religious function. By comparing the two mentioned ocarinas one can come to the conclusion that this type of instrument was not atypical of the Neolithic period in the Balkans. Also, this instrument requires knowledge of specific technical skills for the development itself, but also the music - positioning holes so that they can get to a certain tone sequence. Both instruments are similar in shape, similar to the arrangement of holes. Ocarina is one of the so-called globular flute or vessel. Ocarina is also one of the oldest musical instruments found in the world. Interesting as I found Ocarina of central Africa, which are dated to the period from 30,000 BC. In South America ocarinas existed in the pre-Columbian era instrumentarium - the Incas, Mayas and Aztecs used it (the site of El Bosque Phase of the Central Athlantic Watershed 100 BC - 500 AD, Colombia

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1000-1500 AD). Also, there are interesting instrument of this tipe from China, instrument called Xun, 7000 BC, as well as ocarinas from India (6000 BC). It is interesting that there is not much data on the ocarina in Europe, except that Cortez brought them to the European courts after study in America. For this reason, these two instruments and interesting, both ocarina from Kosovo and Macedonia, because there were not found in neolitics in Europe, as we know for now.

Another, perhaps the most interesting instrument in this group is surely antique organ - hidraulos or hydraulic organ. This musical instrument was found at the site near Golubac - ancient Roman settlement and castrum (a fortified military settlement) Cuppae. From the whole instrument, only the remaining of the tubes were found, which are made of three materials - bone, copper and silver. The original finding was purchased for the National Museum in Belgrade in 1897 and archaeologist Miloje Vasic published work on them in 1909. The former finding consisted of 7 different lengths of pipe 15 0, 42 to 5 cm, 5 cm. Given that the collection of the museum was destroyed during the Second World War, the findings from this there are only 13 fragments that according to archaeologists can not compile. In one fragment is preserved inscription signed by the craftsman who made them - Fortunatus. There are two articles published by archaeologists Deana Ratkovic, Organ pipes from Cuppae and Miloje Vasic, Bone, a silver pipe (1909), in which is indicated that instrument like this had luxurious character. During roman period there were typical musical instruments that belonged to military ensembles (such as horns and trumpets), while the instruments of private persons were rarely found (the latter could be used in public for auditoriums, theaters or in homes or ceremonial courts). Ratkovic stated assumption that such an instrument could end up in the hands of private persons during the visit of the imperial bureaucrats or the emperor himself, as a gift to someone Trustee upper Mesia limes, because at that time this area was one of the major station on the road to Nicomedia. Otherwise, the exact name of this instrument is hidraulos (water organ). Also, this instrument is very rare in this area, as far as the archaeological sites where they were found: hydraulos in Greece and hydraulos in Hungary (finding from 1931, with an inscription dating back to the year 228 BC, there is now a reconstructed version of the instrument exhibited in the Aquincum Museum in Budapest). This very technically complex and sophisticated instrument shows a high level of musical consciousness, as skillfully conduct the construction of instruments. Hydraulos is one of the first instruments with keys. Parallels can be withdrawn with Chinese instrument Sheng, one of the oldest Chinese musical instruments (1100 BC) and Japanese versions of the same instrument Sho.

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