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Rock Art Research 2015 - Volume 32, Number 1, pp. 46-62. M. Daz-aNDreu and C. GarCa BeNito
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Rock Art Research 2015 - Volume 32, Number 1, pp. 46-62. M. Daz-aNDreu and C. GarCa BeNito
testify.
Using the methodology developed in Valltorta (DazAndreu and Garca Benito 2012: 3593), the examination
of the acoustics in the three rock art areas described in
this study was undertaken in three stages: ieldwork,
analysis and interpretation. The methodology was as
follows. The irst stage was ieldwork, but it began
with a thorough study of the published literature on
the rock art in the area to be analysed and a careful
design of the experiment adapted to the peculiarities of
each of the rock art landscapes to be tested. In order to
make the comparison possible, we decided to keep the
focus of our study on reverberations and echoes. These
were recorded with an M-AUDIO MicroTrak II digital
recorder and comments on the results were noted in situ
in a purpose-built acoustics recording form. As can be
seen in all the tables included in this article, reverberation
was measured as 0 (meaning no reverberation), 1
(indicating short and soft reverberation of one second
duration or less), and 2 (longer reverberation). The
number of echoes was also recorded. On the basis of the
types of musical instruments known from the Upper
Palaeolithic up to the beginning of the Bronze Age, we
chose a series of sounds that represented wind and
percussion instruments, as well as vocal music. Thus, in
each test location we took six measurements: repeated
clapping; two whistles with frequencies of C7/C#7 and
G7/G#7 played together; the G7/G#7 whistle played at
intervals; male and female voices together using the a
sound (as in mat) (the pitch was not controlled); a solo
male voice and a solo female voice.
In addition, to assess reverberation and echoes with
diferent sounds, we also decided to include a method of
examining whether the acoustic properties were taken
into account when deciding which shelters to paint in.
Accordingly, we resolved not only to check locations
where rock art had been created but, when possible and
following a purposive survey, also other places in the
landscape of an apparently similar geological nature (i.e.
shelters in our case study) where, despite their relatively
high number, no rock art has been found. Although
we had not undertaken this type of test at Valltorta,
we were intrigued about what results we could obtain.
Yet, in practice we encountered the problem that the
area where the pre-Historic communities decided to
paint was not that large and this limited the selection
of undecorated shelters. Also, in order to answer the
question of who may have made up the audience the
music was aimed at and where that audience would
have been, we decided to carry out two series of tests,
one at the sites themselves and another in nearby areas
where large groups could be accommodated, i.e. the
botom of the gorge or the foot of the hill below the
rock art shelters. Finally, to answer this question in a
diferent way, we undertook two series of tests in the
shelters, one facing towards the rock art panel and the
other facing away from it.
After the ieldwork, the second phase of the project
was a desktop analysis. We inspected the spectrogram
Rock Art Research 2015 - Volume 32, Number 1, pp. 46-62. M. Daz-aNDreu and C. GarCa BeNito
49
50
Rock Art Research 2015 - Volume 32, Number 1, pp. 46-62. M. Daz-aNDreu and C. GarCa BeNito
Saltadora
(S)
2
2
2
1
1
1
Mega-sites
Saltadora
Cavalls
(N)
2
1
2
2
2
2
2
2
2
2
2
2
Saltadora
(S)
1
2
2
1
2
1
Mega-sites
Saltadora
Cavalls
(N)
1
1
2
2
2
2
2
2
2
2
2
1
Saltadora
(S)
2
0
1
0
0
0
Mega-sites
Saltadora
Cavalls
(N)
3
0
0
0
0
2
0
0
0
0
0
1
Saltadora
(S)
0
0
0
0
1
0
Mega-sites
Saltadora
Cavalls *2
(N) *1
0
2
3
0
2
1
0
0
0
1
0
0
Civil
Lledoner
2
1
1
1
1
1
2
2
2
2
2
2
Civil
Lledoner
1
2
2
1
2
2
1
2
2
2
2
2
Civil
Lledoner
0
0
0
1
1
1
3
0
0
0
0
0
Civil *3
Lledoner
0
1
0
1
1
0
1
0
1
0
0
0
Minor sites
Mas den
Josep
2
2
2
2
2
2
Tolls del
Puntal
2
2
2
2
2
2
Minor sites
Mas den
Josep
1
1
2
1
1
1
Tolls del
Puntal
2
2
2
2
2
2
Minor sites
Mas den
Josep
0
0
0
0
0
0
Tolls del
Puntal
0
0
0
0
0
0
Minor sites
Mas den
Josep
0
0
0
0
0
0
Tolls del
Puntal
0
0
0
0
0
0
*1 The echo comes from the left. *2 The eco produces an efect stereo. *3 The echo comes from the right.
Table 1a. Valltorta (V). Fieldwork phase 1. reverberation a/ when facing the back wall of the shelter; B/ when facing the
gorge; echoes (number of) C/ when facing the back wall of the shelter; D/ when facing gorge.
Rock Art Research 2015 - Volume 32, Number 1, pp. 46-62. M. Daz-aNDreu and C. GarCa BeNito
51
E. Rever- V1* V2 V3* V4 V5V6- V7-Mas V8* V9 V10 V11 V12- V13 V14 V15- V16- V17 V18 V19 V20
beration
Mata- Saltaden
CaCivil Civil
(from the
moros dora Josep
valls
II*4
gorge)
Clapping
0
0
1
1
0
1
0
0
0
0
0
2
0
1
0
1
0
0
0
0
Both whis1
1
1
1
1
2
0
0
0
0
0
2
0
1
1
1
0
0
0
0
tles
One intermitent
1
1
1
1
2
2
0
0
2
0
1
2
0
1
0
1
0
0
0
0
whistle
Voices
1
1
1
1
1
2
1
0
0
0
0
2
0
1
1
1
0
0
0
0
Male Voice 1
1
1
1
1
2
0
0
1
0
1
2
0
1
1
1
0
0
0
0
Female
1
1
1
1
1
2
0
0
1
0
0
2
0
1
1
1
0
0
0
0
Voice
1
*1 Sound is transmited upwards the Gorge. *2 Sound is transmited upwards the Gorge with clapping and downwards with Male
voice. *3 Strange place. Not well deined echo or reverberation. *4 Sound is transmited upwards the Gorge with whistle and male
voice.
F. Echo
V5V6- V7-Mas
V12V16V15(from the V1 V2 V3 V4 Mata- Salta- den
V8 V9 V10 V11 Ca- V13 V14
Civil V17 V18 V19 V20
Civil
gorge)
moros dora Josep
valls
II
Clapping
0
0
0
0
2
2
2
0
1
0
0
1
1
0
0
1
0
0
0
0
Both whis0
0
0
0
0
0
1
0
0
0
0
2
0
0
0
1
0
0
0
0
tles
One intermitent
0
0
0
0
0
0
0
0
0
0
0
2
0
0
0
1
0
0
0
0
whistle
Voices
0
0
0
0
0
1
0
0
0
0
0
2
0
0
0
1
0
0
0
0
Male Voice 0
0
0
0
0
0
1
0
0
0
0
1
0
0
0
1
0
0
0
0
Female
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
1
0
0
0
0
Voice
Table 1b. Fieldwork phase 2. E/ reverberation from the botom of Valltorta Gorge; F/ number of echoes from the botom of
Valltorta Gorge. See Figure 2 for site and test point locations.
Figure 5. Map of the Mortero Gorge rock art area indicating the test locations. a.
Head of the Mortero Gorge area. B. Cerro Felo area. M indicates Mortero Gorge
and P indicates Pellejas Gorge.
52
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Rock Art Research 2015 - Volume 32, Number 1, pp. 46-62. M. Daz-aNDreu and C. GarCa BeNito
only one test was made in only one shelter without rock
art, further tests may be needed to verify the diference
between painted and unpainted shelters in the Mortero
Gorge. Regarding the results obtained in tested rock art
shelters, no apparent diferences were found between
Eudoviges, which was probably painted later, and the
other four shelters, painted in a more typical Levantine
style. In contrast to Valltorta, the tests carried out facing
the shelter (Tables 2B and 2D) were less efective than
those facing the gorge (Tables 2A and 2C), both at the
head of the Mortero Gorge and at Cerro Felo. In both
areas whistles, closely followed by voices, gave the best
results when testing reverberation, although clapping
produced a higher number of echoes. The sites of
Covacho Ahumado at the head of the Mortero Gorge
and Ta Mona in Cerro Felo had the highest number
of echoes. It is particularly interesting to note that the
53
Cerro Felo
0
2*1
0
1
0
1
Shelter
without
art
0
0
1
1
1
1
1
1
0
0
0
Eudoviges
2*
2*2
2*2
Notes: ** For all tests in this place the sound bounces in a shelter located in front of it.
*1 The reverberation comes from downstream. *2 The reverberation comes from behind the emiter, from the
other side of gorge.
B. Reverberation
(towards
gorge)
Clapping
Both whistles
One intermittent whistle
Voices
Male voice
Female voice
Cerro Felo
0
2
0
1
1
2
2
2
0
2
0
2
0
2
0
1
0
2
Shelter
without
art
0
1
2
2
2
1
1
1
2
2
1
1
2
2
1
2
2
2
1
1
2
2
2
2
1
1
1
2
1
0
0
0
Eudoviges
Frontn de
los Cpridos
El Garroso**
Note: **For all tests in this place the sound bounces in a shelter located in front of it.
Head of Mortero Gorge
Los
Covacho Los TreRecolec- Covacho
Ta
BorriAhumado padores
tores
Ahumado Mona
quitos
Clapping
1
1
1
1
1*2
3
1
Both whistles
1*
0
0
0
2
0
One intermit2
2
1*
0
0
0
2*
2
tent whistle
Voices
1*3
0
0
0
0
0
Male voice
1*4
1
1
0
1*2
0
Female voice
0
0
0
0
0
0
C. Echo
(towards
shelter)
Cerro Felo
Frontn de
Eudolos Cpriviges
dos
1
2*3
1
0
1*3
0
Shelter
without
art
0
0
El Garroso**
0
0
0
1
0
0
1
0
0
0
1
0
Notes: ** For all tests in this place the sound bounces in a shelter located in front of it.
*1 The echo comes from two directions: downstream and upstream, a stereo mode. *2 The echo comes from down
stream. *3 The echo comes from upstream. *4 The echo comes of in front of the shelter.
Rock Art Research 2015 - Volume 32, Number 1, pp. 46-62. M. Daz-aNDreu and C. GarCa BeNito
54
D. Echo
(towards
gorge)
2*1
0
2*1
0
2*2
0
Recolectores
1
0
1*1
Clapping
Both whistles
One intermittent whistle
Voices
Male voice
Female voice
1*
1*3
0
Los Borriquitos
0
1
0
0
0
0
Covacho
Ta
Ahumado Mona
0
0
0
1*1
1
3
2
0
0
0
2
1
0
Cerro Felo
Frontn de
Eudolos Cpriviges
dos
1
1
1
0
0
2*
0
0
1
0
Shelter
without
art
0
0
1
1
0
1
1
0
0
1*5
0
El Garroso**
Notes: ** For all tests in this place the sound bounces in a shelter located in front of it.
*1 The echo comes from downstream. *2 The echo comes from upstream. *3 The echo comes of in front of the shelter.
*4 The echo comes form two directions: downstream and upstream, a stereo mode. *5 The echo comes from Pellejas
gorge.
Mortero Gorge
E. Reverberation (from the
gorge)
Clapping
Both whistles
One intermittent whistle
Voices
Male voice
Female voice
M1Head
M2BorriM3
TT TG quitos
M4
M9-Ahumada-Ta
M5 M6 M7 M8
Mona
M10Eudoviges
Pellejas Gorge
P2P3Frontn
GaM11 M12 P1 Cprirroso
dos
0
0
0
0
0
0
0
1
1
2
1
2
1
2
1
2
0
1
0
1
0
1
0
1
0
0
0
0
0
1
0
1
1*2
1
1
1
2
2
1
1
2*1
1
0
1
0
1
0
0
0
0
0
0
0
0
0
0
0
1
1
0
2
2
2
2
1
1
0
0
0
0
0
0
1
0
0
1
1
1
2
0
1
Notes: TT: (towards theatre) looking at the natural theatre; TG: (towards gorge) looking at the gorge.
*1 The reverberation goes to downstream. *2 The reverberation comes from downstream.
Mortero Gorge
F. Echo
(from the
gorge)
M1Head
Pellejas Gorge
P2M9-AhuP3Frontn
mada-Ta M10-EuGaM4 M5 M6 M7 M8
M11 M12 P1 CpriMona
doviges
rroso*3
dos*3
0
0
0
0
1
2
2*2
0
0
1
1*4
1
Clapping
M2Borriquitos
1
Both whistles
Voices
1*1
Male voice
1*1
1*1
Female voice
TT TG
M3
0
Notes: TT: (towards theatre) looking at the natural theatre; TG: (towards gorge) looking at the gorge. * The echo comes
from downstream. *2 The echo comes from Pellejas Gorge. *3 The dam of the gorge can inluence these tests.
*4 The echo comes from upstream.
Table 2. Mortero Gorge. Fieldwork phase 1. reverberation a/ when facing the back wall of the shelter; B/ when facing
the gorge; echoes (number of) C/ when facing the back wall of the shelter; D/ when facing gorge. Fieldwork phase 2. e/
reverberation from the botom of Valltorta Gorge; F/ number of echoes from the botom of Mortero Gorge.
the Mortero Gorge, two to the west of Cerro Felo, next
to the Covacha Ahumada and Tia Mona sites, and two
to the south of Cerro Felo, next to the rock art sites of
Frontn de los Cpridos and Garroso. Six test points
were established in areas without rock art between the
two major areas and two downstream from the Cerro
Rock Art Research 2015 - Volume 32, Number 1, pp. 46-62. M. Daz-aNDreu and C. GarCa BeNito
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Rock Art Research 2015 - Volume 32, Number 1, pp. 46-62. M. Daz-aNDreu and C. GarCa BeNito
Figure 9. the ermites rock art landscape. rock art sites ermites iV and the ermita de la Pietat hermitage (photo by
Margarita Daz-andreu).
Figure 10. ermites i. recording by ramn Vias (Vias et al. 2009: Fig. 4).
about 400 pieces of retouched stone implements in
the mid-1970s. Typologically they show a chronology
from the Magdalenian in the Upper Palaeolithic to the
Mesolithic and Late Prehistory (Vias et al. 2009: 54,
57). Cova Fosca is also diferent to the others, not only
because of its size and the likely use as a dwelling or
aggregation site, but also its paintings seem schematic
and also of a Historical date (Vias 1986: 118135).
The acoustics tests in the Godall mountains rock art
Rock Art Research 2015 - Volume 32, Number 1, pp. 46-62. M. Daz-aNDreu and C. GarCa BeNito
57
A1. Reverberation
(towards Shelter)
Ermita I
Clapping
Both whistles
One intermitent whistle
Voices
Male voice
Female voice
0
2
2
0
0
1
Ermita II Ermita IV
0
2
2
1
1
0
0
2
2
1
1
0
Ermita V
Ermita VI
0
2
2
1
1
0
0
2
2*
1
1
0
Ermita
VIII
0
2
2
1
1
1
Escuarterades I
0
1
2
0
0
0
Escuarterades II
0
2
2
0
0
0
Ermita A
Clapping
Both whistles
One intermitent whistle
Voices
Male voice
Female voice
0
1
1
0
0
0
EscuarEscuarterades A terades B
0
0
1
1
2
1
0
0
0
0
0
0
Non-decorated area
EscuarEscuarterades C terades D
0
0
1
1
1
1
0
0
0
0
0
0
Escuarterades E
0
1
1
0
0
0
Cossis
Test 1
Test 2
0
0
2
2
2
2
0
0
0
0
0
0
Decorated area
B1. Reverberation
(outward)
Ermita I
Ermita II
Ermita IV
Ermita V
Clapping
Both whistles
One intermitent whistle
Voices
Male voice
Female voice
0
2
2
0
0
1
0
2
2
1
1
0
0
2
2
0
1
0
0
2
2
1
1
1
0
2
2
2
2
1
Escuarterades I
0
2
2
0
0
0
Escuarterades II
0
2
2
0
0
0
Ermita
A
Escuarterades
A
Escuarterades B
Escuarterades C
Escuarterades D
Escuarterades E
0
1
1
0
0
0
0
1
2
0
0
0
0
1
1
0
0
0
0
2
1
0
0
0
0
1
1
0
0
0
0
2
2
0
0
0
Cossis
Test 1
Test 2
0
2
2
0
0
0
0
2
2
0
0
0
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Rock Art Research 2015 - Volume 32, Number 1, pp. 46-62. M. Daz-aNDreu and C. GarCa BeNito
Decorated area
C1. Echo
(towards Shelter)
Ermita I
Clapping
Both whistles
One intermitent whistle
Voices
Male voice
Female voice
1
0
0
1
1
0
Ermita II Ermita IV
2
0
0
1
1
0
3
0
0
0
0
0
Ermita V
Ermita VI
1
0
0
1
1
0
2*1
0
0
0
0
0
Ermita
VIII
3
0
0
1
1
0
EscuarEscuarterades I terades II
0
1
0
0
0
0
0
1*2
0
1
0
1
Notes: *1 The echo comes from the left. *2The echo comes from the right.
C2. Echo
(towards Shelter)
Clapping
Both whistles
One intermitent whistle
Voices
Male voice
Female voice
Ermita
A
1
0
0
0
0
0
Escuarterades A
0
0
0
0
0
0
Escuarterades B
0
0
0
0
0
0
Non-decorated area
EscuarEscuarterades C terades D
0
0
0
0
0
0
0
0
0
0
0
0
Cossis
Test 1
Test 2
1
2*
0
0
0
0
0
1
0
1*
0
0
Escuarterades E
0
0
0
0
0
0
D2. Echo
(outward)
Clapping
Both whistles
One intermitent whistle
Voices
Male voice
Female voice
Ermita I
Ermita II
1
0
0
1
0
0
2
0
0
0
0
0
Ermita
A
1
0
0
0
0
0
Escuarterades A
0
0
0
0
0
0
Ermita IV Ermita V
3
0
0
0
0
0
1
0
0
1
1
0
0
0
0
1
1
0
Non-decorated area
EscuarEscuarEscuarterades B terades C terades D
0
0
1
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
Escuarterades E
0
0
0
0
0
0
Escuarterades I
0
0
0
0
1
0
Escuarterades II
0
0
0
1
1
1
Cossis
Test 1
Test 2
0
1
0
0
0
0
0
1
0
1*
0
0
Ermites
U1
U2
0
0
2
2
2
2
2
1
1
1
1
2
Escuarterades
U3
0
2
2
1
1
1
Ermites
U1
U2
2
1
0
0
1
0
0
1
0
1
0
0
Escuarterades
U3
0
0
0
0
1
0
Table 3. Godall mountains. Fieldwork phase 1. reverberation a1, a2/ when facing the back wall of the shelter; B1, B2/
when facing the gorge; echoes (number of) C1, C2/ when facing the back wall of the shelter; D1, D2/ when facing the gorge.
Fieldwork phase 2. e/ reverberation from the foot of the hill; F/ number of echoes from the foot of the hill.
Rock Art Research 2015 - Volume 32, Number 1, pp. 46-62. M. Daz-aNDreu and C. GarCa BeNito
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