Archaeological evidence indicates the presence of large bird bones and mammoth ivory flutes dating back to the Aurignacian period in Europe, with significant discoveries at the German caves of Geißenklösterle, Hohle Fels, and Vogelherd. However, it is likely that musical behaviour predates these objects, manifested perhaps through intangible activities such as vocalizations, handclapping, and body percussion—practices that leave no material trace in the archaeological record. Nonetheless, a Neolithic panel of rock art in Tadrart Acacus (Libya) depicts a woman clapping her hands, a motif also observed in other later African rock art traditions.
In the European Palaeolithic, additional “sound-producing devices” have been identified, including lithophones made from stalactites and stalagmites, as well as idiophones crafted from long animal bones. These may have been used to produce sound, further illustrating early human engagement with music.
While the evidence for early music in Asia is not as ancient as in Europe, the absence of such evidence does not imply its non-existence. Notably, the rock paintings in Sulawesi (Indonesia), dating to at least 51,200 years ago, suggest that the capacity for human creative expression in Asia predates that of other continents. This discovery raises the possibility of early “sound- producing devices” in Southeast Asia, though interpretations related to music in this regionremain limited.
In the Neolithic period, the earliest known ceramic drums come from the Dawenkou Culture in Eastern China, dated to the 5th millennium BCE. Other examples of such musical instruments from this region are found in the Banshan Culture of Western China, though these are more recent in date.
In south Asia, drums such as the Mridangam, depicted in the rock art of Bhimbetka (India) and dating to the Bronze Age, demonstrate the early integration of percussion in ritual and socialcontexts. Several Mesolithic rock art sites in this region feature scenes of dancing, strongly suggesting a connection between dance and musical performance, as sound is typically required for such activities.
In Kazakhstan, a “ringing” stone that produces a metallic sound has been discovered near prehistoric rock art depicting human figures in dance poses. This stone is situated in an area where contemporary wedding festivals are still held, suggesting a continuity of sound-related practices through time.
The study of music’s origins, therefore, requires a multidisciplinary approach, incorporating anthropology, archaeology, archaeoacoustics, ethnomusicology, philosophy and related fields.
The coordinators of this session are particularly interested in presentations focusing on early musical behaviour, the representation of musical instruments and/or dancing scenes in prehistoric art, the use of lithophones (in caves, rock shelters, or open-air panels), the potential for shamanic or ritualized contexts and the interpretation of iconography.
We also welcome other novel approaches to exploring the role of sound and imagery in past human societies, especially where archaeological evidence is limited. Despite the session being focused in Eurasian evidences, we may also consider proposals of papers from other parts of the world if they will make parallels with the forementioned area.
For inquiries and submissions, please contact:
Fernando Coimbra, Museum of Prehistoric Art of Mação, Polytechnic Institute of Tomar, Geosciences Centre of Coimbra University (Portugal) – coimbra.rockart@yahoo.com
Dragos Gheorghiu, Doctoral School, National University of Arts, Bucharest, Romania – gheorghiu_dragos@yahoo.com
George Nash, Department of Archaeology, Classics and Egyptology, University of Liverpool, UK – nash@liverpool.ac.uk
