The European Music Archaeology Project (EMAP) E.1 Detailed Description of the Project INDEX

Transcription

1 The European Music Archaeology Project (EMAP) E.1 Detailed Description of the Project INDEX 1. Introduction to the Project 2 2. The Goals 3 3. Target Audience 4 4. Project Partners and Operation Management Decision-making structure Associated partners and further contacts 6 5. Description of Work Packages and Activities Work Package 1: Basic Activities Work Package 2: Multimedia Touring Exhibition Work Package 3: Programme of Events Work Package 4: Communication and Dissemination Work Package 5: Administration Sustainability General Timeline Key to Abbreviations 20

2 1. Introduction to the Project The European Music Archaeology Project (EMAP) aims to travel back into the interconnected musical past of Europe, increasing awareness of our common heritage. This will be achieved by creating (1) a travelling multimedia exhibition focused on ancient European musical instruments and music, highlighting reproductions of archaeological finds, and (2) an accompanying event programme, including music performances in which the ancient world of sound is brought back to life, as well as international conferences, lectures, workshops, and school programmes. Sustainability will be ensured by a series of CDs featuring reconstructions of ancient music, a film documentary and publications such as an exhibition catalogue, conference proceedings and a children s book. A website will host everything centrally and share the results worldwide. The EMAP emphasises trans-national scientific and artistic collaboration and has been developed by an interdisciplinary team of researchers, musicians, instrument makers, and film makers committed to music archaeology, a new discipline at the intersection of the humanities and the arts. The project celebrates Europe s cultural diversity and enhances understanding of our shared cultural heritage through the development of cross-border co-operation. Exploring the roots of Europe s diverse musical traditions in a multi-national team is a way of strengthening our common European identity. The showcasing of common characteristics of our musical past, and its evolution throughout the various historical cultures of Europe, is a powerful way of promoting intercultural dialogue. Fig. 1 Bone Flute, Hohle Fels cave (DE, BC); Apollo with lyre, Delphi (GR, 460 BC); Carnyx-players, Gundestrup cauldron (DK, 300 BC - AD 100) Musical instruments of the ancient world existed before modern national boundaries were created, and demonstrate a unifying cultural expression that brings modern countries together. This will be shown by for example Palaeolithic bone flutes found in various European countries which demonstrate a common cultural substrate introduced by the early Homo Sapiens in Europe; the evolution of lyres and other stringed instruments across cultures of the Mediterranean and much of Middle and Northern Europe; similarities amongst metal horns, in Bronze Age cultures around the Baltic Sea, in the British Isles, and later in southern France and the Etruscans in northern Italy. An awareness of these lost European connections frames all the activities of the project, which also includes the study of contemporary music traditions in which aspects of ancient musical life may still survive. 2

3 The project is orientated towards the promotion and strengthening of intercultural competences and intercultural dialogue. In particular, the EMAP is designed to develop cultural awareness and expression, which is one of the key competencies for lifelong learning identified by the European Parliament and Council in 2006 (Recommendation 2006/962/EC). The identification of European common musical roots fits perfectly with the objectives of the Culture Programme , which identify the necessity of adopting measures that support trans-national circulation of cultural and artistic works and products. The provision of a novel touring exhibition and a complementary event programme featuring music and instruments from ancient and traditional musical cultures, will bring together the visual and performing arts with the humanities in an innovative and stimulating way. In addition, the project will likely produce results of significant scientific impact, contributing new insights to academic debate. 2. The Goals The goals of the project are directed towards the general public, as well as towards the art and academic worlds. Fig. 2 The Goals 3

4 3. Target Audience The two principle work packages of the project, the multimedia travelling exhibition and the event programme, as well as the many EMAP releases (DVD, CDs, exhibition catalogue, and other print media), are directed towards the: Fig. 3 Target Audience 4. Project Partners and Operations Management The EMAP consists of 10 cultural operators from seven member states, the coordinator, Municipality of Tarquinia [IT (Tar)], and nine co-organisers: The Cyprus Institute [CY]; Deutsches Archäologisches Institut [DE]; Musik I Syd [SV]; Österreichische Akademie der Wissenschaften [AT]; Regione Lazio [IT (Rom)]; Royal Conservatoire of Scotland [UK (Gla)]; Universidad de Valladolid [ES]; Università della Tuscia [IT (Vit)]; and University of Huddersfield [UK (Hud)]. This includes municipalities with a strong interest in cultural activities related to history [IT (Tar; Rom)]; universities with a focus on musicological, archaeological and digital media research [ES; IT (Vit); UK (Hud)]; research institutes with a focus on archaeological, philological, and musicological research [AT; CY; DE]; a musical association with a focus on performance practice [SV]; and a music conservatoire with a focus on film and performance [UK (Gla)]. 4

5 Representatives of these institutions will draw upon expertise from all over Europe to develop work packages and activities in their own and other countries within the project. Thus, the project is pan-european, from the creation of the work packages through to their delivery by pan-european teams. The project partners have already held 6 international meetings over the past 2 years to define individual responsibilities and to prepare this application. Fig. 4 Organigram 4.1 Decision-making structure A central committee will have ultimate authority over all decisions and policies. The coordinator and each co-organizer will have one designated representative/voting member each. These persons will be responsible for the implementation of each action within the work packages. From this group, the exhibition curator and the artistic director will be elected, who will integrate scientific and artistic priorities. These persons, and the project manager, constitute the EMAP committee, which will meet regularly at general meetings through all phases of the project. In the general meetings the coordinator and the co-organizers will report on the progress of activities, and decisions about the scientific and artistic direction of the project will be made. The federal nature of the programme is reflected in the decision-making structure, which is further specified in the multilateral cooperation agreement. 5

6 Fig. 5 Management Structure 4.2 Associated partners and further contacts Other partners collaborating as part of the EMAP include representatives from universities, museums, music archives, municipalities, research associations, scientific study groups, and festival associations. Fig. 6 Associated Partners 6

7 Further contacts include: Regional Museum Ptuj [SV] Musei Vaticani [VA] British Museum [UK] Horniman Museum [UK] Museo Nazionale Archeologico di Villa Giulia [IT] Museo Nazionale Archeologico di Tarquinia [IT] Museé des Baux en Provence [FR] Musée de la Préhistoire en Wallonie [BE]. Also taking part in the project are individual artists, musicians, researchers, and other cultural operators from all over Europe [AT; BE; CH; CY; DE; ES; FI; FR; GR; IE; IT; NL; NO; PL; PT; RO; SI; SV; TR; UK; VA]. Committee members and all collaborators will share knowledge and results in a wiki, which serves as the common platform for data collection. The wiki also helps to enhance the communication flow between partners through all phases of the project. Fig. 7 Map of countries represented by co-organisers with associated partners (dark blue), countries with associated partners (azure), and countries in which individual collaborators are located (light azure). Large yellow dots: exhibition venues. Small yellow dots: additional venues of the events programme. 7

8 5. Description of Work Packages and Activities The EMAP will develop and deliver five work packages and 37 activities, which together will create an increased appreciation of the interlinked musical world of ancient Europe, delivering this to modern audiences both live and via various media. The work packages are: Basic Activities (1), Multimedia Touring Exhibition (2), Programme of Events (3), Communication and Dissemination (4), and Administration (5). As illustrated in the project timeline (see section 7), the project is divided into three phases: Fig. 8 Project phases 5.1 Work Package 1: Basic Activities Among the basic activities are corporate imaging (Activity 1), general meetings (Activity 2, see section 4), implementation and maintenance of wiki and website (Activities 3-4), data collection and data processing (Activities 5-10), and all activities related to manufacturing (Activities 11-14). Corporate Image The corporate image of the EMAP will be provided by the coordinator and includes the creation of the logo, the web design, and the print design (including cover of CDs and DVD, posters, flyers, etc.). These activities will start at the very beginning of the project. Wiki and Website The already existing wiki-platform is password-restricted and shared amongst all project participants, including the associated partners. It is the official tool for sharing all internal matters of the EMAP, 8

9 especially for data collection and documentation, and for discussion during the time between general meetings. As well as marketing and documenting the project, the website will help visitors to see their national musical heritage in a pan-european context. It will be implemented by the coordinator at the very beginning of the project and feature a virtual map of the multimedia exhibition, a calendar of events, videos and sound files, and a form to order EMAP releases. The site will outlive the physical exhibition, vastly extending its impact as a permanent record of the project. Data Collection and Data Processing Material and Virtual Reconstructions of Ancient Musical Instruments and Music Iconography The activities subsumed here reflect scientific research, including the application of new technologies. They are the principal focus of the first phase of the project. Ancient European musical instruments and music iconography, as key representatives of interconnected European music culture, are preserved in museums around the world. They are enormously valuable and often too fragile to leave their current location to be played or exhibited. Several project partners [AT; CY; DE; ES; IT (Tar; Vit); SV] will design and develop replicas of ancient musical instruments for both exhibition display and performance. Research includes technical and laboratory analysis, and 3D-Scanning of the original artefacts. Fig. 9 Reproduction steps of a Celtiberian ceramic horn from 200 BC The Cyprus Institute will develop 3D-replicas of music and dance depictions (on vases, friezes and reliefs), for display in the exhibition. The use of virtual technology and playable replicas enables the project to deliver high impact audience experiences and to create new content that has high quality artistic value. Fig. 10 3D-scanning of original artefacts in museum display 9

10 For display in the exhibition, on the website, and in film documentary and audio recordings, several partners are utilizing 3D scanning, audio recording and/or digital modelling to create virtual reconstructions of ancient musical instruments set within the recreated acoustics of their archaeological contexts [CY; IT (Tar); UK (Hud)]. Digital images will be displayed on the website and at the exhibition both in normal view and in 3D. Augmented Reality Tags (ARtags) will be used, which allow the objects to be handled virtually by the viewer. Ancient instruments will be seen and heard being played as they were in the past. Audio, Video, and Film Releases Activities related to research, ancient musical instrument making, and playing, will be documented in audio, video and/or film, by several partners through all phases of the project. A range of audiovisual media will be featured in the exhibition displays, published in a series of five CDs and a DVD, and for a library of recordings and videos available as digital downloads via the website. Students at UK (Gla) will produce a historical documentary, tracing three parallel journeys following musical instruments from archaeological remains through reconstruction and up to performance, asking what the music of our ancestors sounded like? Fig. 11 Computer model of Stonehenge and virtual archaeoacoustics model UK (Hud) will create virtual reconstructions of archaeological sites and their soundscapes, leading towards the implementation of a surround sound space in the exhibition, in which the visitor will experience the sounds of reconstructed ancient instruments, set within virtual reconstructions of archaeological sites, with accurately modelled acoustics. Visual and audio computer modelling of selected archaeological sites will be carried out, to project sounds into specific acoustic environments, transporting them virtually into the soundworlds of our interconnected European past. Print Releases EMAP print releases will include the exhibition catalogue and booklet, a children s book, educational worksheets for school programmes, and conference proceedings. Other than the conference proceedings, in which the results of several EMAP panels and international conferences will be published, all print products will be finished within the first phase of the project. This will be a joint effort shared among all project partners. All project partners will carry out research and compilation of information related to exhibition topics for the exhibition catalogue and the exhibition booklet (which is free for visitors), including textual and pictorial data. The print releases will be translated into the language of each participating country and will include in-depth explanations of the exhibition contents, reports of ancient 10

11 European musical instrument making and performances, and reports of audio, visual, and digital approaches. The catalogue will cover all the topics presented in the exhibition, synthesize the European experience brought together in the EMAP, and deepen results gained from the collaborative work. The children s book (school age) will cover the history of musical instruments in Europe and provide a guide to simple do-it-yourself instrument making at an appropriate language level. It will be jointly developed by several partners of the project [ES; SV] and designed by leading European illustration artists, providing a trip through European music history. The educational worksheets will be supplied at the exhibition venues and in schools to provide a focus for children s visits to the exhibition. Conference proceedings of EMAP panels at the ISGMA (International Study Group on Music Archaeology) conferences 2014 and 2016 in Berlin, the ICTM Study Group for Music Archaeology conference 2015 and 2017, and the EMAP conference on Ancient Brass Instruments in Viterbo 2015, will all be published between , and thus add scientific value to the project already during its operation time. Manufacturing A range of manufacturing activities will draw upon the data collection and processing described above. These activities will all be carried out in the first phase of the project, and include: material and virtual reconstructions (reproductions of ancient European musical instruments, including the production of working models and prototypes, which will be created by artists and specialist instrument makers); 3D printing of previously scanned sound artefacts, figurative objects, and reliefs; audiovisual releases (printing of CDs and DVDs, in cooperation with sub-contractors); and print products (editorial office and layout; printing of catalogue, booklet, and books in cooperation with sub-contractors). 5.2 Work Package 2: Multimedia Touring Exhibition The multimedia touring exhibition (current working title ArchÆomusica The Sounds and Music of Ancient Europe) is one of the two core work packages of the project. It will tour Europe during the second phase of the project, between May 2016 and November Activities related to its implementation are entitled: Curating (Activity 15), Concept (Activity 16), Setup (Activities 17-19), and Touring (Activities 20-24). Drawing upon innovative approaches to exhibition making, an experience of the dimensions of sound and space will be made possible using virtual and multimedia approaches, alongside hands-on experiences. Visitors will discover a lost world of sound and culture in ancient Europe, in which unifying elements of music are a constant theme. Wherever the exhibition travels, it will be accompanied by a programme of satellite events, with artists selected from a large pool of musicians, performers, lecturers and instrument makers (see section 5.3). Curating In constant contact with co-organizers, associated partners, and subcontractors, the Exhibition Curator, with the Project Manager and the Artistic Director, will curate and manage exhibition activities to ensure that they are delivered to specification and on time. Concept 11

12 The exhibition concept will be jointly developed by all project partners. It is planned to cover the origins and evolution of European music from Prehistory to still-surviving music traditions, in order to immerse the visitor in a visual, aural, and tactile musical experience, focussing on the interconnection of ancient music cultures and featuring reproductions of archaeological finds. The exhibition reflects the very-latest research findings within music archaeology. Replicas of ancient sound artefacts and depictions will be provided both for visual display and handson exploration. In support, interactive multimedia materials will accompany the physical artefacts. These multimedia materials highlighting Europe s musical past, will be designed according to the most up-to-date international exhibition standards, linking visual and performing arts and research in an innovative way. The exhibition will be structured in a modular form, emphasising the unifying aspects of music in ancient Europe. Instead of individual rooms featuring individual cultures, every module/theme presents a pan-european picture. The contents of the exhibition will be developed jointly by all project partners. Initially, six topic rooms are envisaged: Fig. 12 Exhibition Topic Rooms. Setup The exhibition design will be the responsibility of DE, and will be prepared and assembled in Rome. IT (Rom) will host this activity, in close cooperation with the exhibition curator and all parties involved. Touring and Hosting 12

13 The exhibition will spend 2-3 months at each of six designated venues. Co-organizers will work closely with venues, supervising the local administration of the exhibition and accompanying events programme. Coordination will be supervised by the exhibition curator. Exhibition venues in co-organizer facilities: ex-gil (Rome, IT Rom), District Officer's Residence (Paphos, CY) Partner venues who have supplied letters of intent: Ystad Abbey (Ystad, SV) Museo de la Ciencia (Valladolid, ES) Museu Nacional de Arqueologia (Lisbon, PT) Venues that have also expressed interest: Horniman Museum (London, UK) Drents Museum (Assen, NL) Musée des Baux en Provence (Les-Baux-de-Provence, FR) Musée de la Préhistoire en Wallonie (Flémalle, BE) Note that exhibition venues are spread beyond the co-organizers national geographic area within the European Union, as can be also seen in the wide array of EMAP collaborators Europe-wide (see section 4). Once the project is funded, agreements will be made with the associated partners/hosts, that the venues provide space, lights, and technical support. Entrance fees will allow venues to recover their own costs, and a small amount per visitor will be transferred to the EMAP (as income). It is anticipated that the exhibition will continue to tour beyond the duration of the grant (see section 6). 5.3 Work Package 3: Programme of Events This is the second principle work package of EMAP. Activities related to the programme of events are entitled: Artistic Direction (Activity 25), Concept (Activity 26), International Conferences (Activity 27), Specialist Workshops (Activity 28), Concerts (Act. 29), and Public Workshops, Lectures, and School Programmes (Activity 30). They all take place in the first two phases of the project. Artistic Direction and Concept The EMAP partners will jointly develop the programme of events across Europe. The Artistic Director will provide oversight to ensure quality is maintained, to support event organisation, and to facilitate a unified approach and interconnections and relationships between various events. International Conferences International conferences will bring together scientists, researchers, instrument makers and artists from all over Europe, including: 13

14 Organs in the Ancient Mediterranean: AT provides a context for the new reconstruction of the famous Roman organ from Aquincum (HU), one of the highlight objects of the exhibition. Brass in Ancient Europe/Horns and Trumpets in the Ancient World: IT (Vit)/ICTM Digital Modelling and Sound Design in Music Archaeology: UK (Hud). EMAP panels and concert performances at international conferences of two associated partners, the International Study Group on Music Archaeology (ISGMA, attached to DE), and the Study Group for Music Archaeology of the International Council for Traditional Music (ICTM). Two of the four joint conferences with associated partners (ISGMA and ICTM) will be organised to coincide with one of the exhibition venues each. Specialist Workshops These workshops will transfer expertise from experienced instrument makers, experimental archaeologists, and music archaeologists to musicians, reconstructing ancient European musical instruments, performance techniques, and soundworlds. They will also ensure that instrument reconstructions and performances are based on cutting edge research of the highest artistic and scientific standards. DE will organise two workshops, in which musicians from different performance traditions are invited to play modern repertoire on ancient musical instruments, and to interchange knowledge on different playing techniques. Each workshop will end with a public concert demonstration. Two workshops will be organized by IT (Tar), Research on the Roman tibiae: Manufacturing and Performance Practice, and, jointly with IT (Vit), Research on Ancient European Brass Instruments: Manufacturing and Performance Practice. These workshops will involve interdisciplinary exchanges among craftsmen, professional musicians, and composers, increasing our knowledge of ancient European reed and brass instruments, both in terms of manufacturing technology and music making. Each workshop will end with a public concert demonstration. In collaboration with the AEECA (Association for the Experimental Study of Archaeological Pottery), ES will organize a workshop for artisans, instrument makers, and researchers, aimed to make replicas of clay iron age instruments (horns, trumpets, rattles, whistles, drums). The replicas will be fired in a reproduction of an Iron Age kiln, which follows the production processes of the Iron Age. Workshop participants will meet traditional potters from the region, sharing knowledge and techniques. CY will organise a workshop on 3D acquisition and virtual and material reconstruction, inviting scholars and students from all over Europe to share and improve this new technological approach to archaeological research and to the trans-national circulation of cultural and artistic works and products. Concerts Several project partners will organise concerts by professional musicians and performance groups before and during the exhibition tour. The venues are in many cases provided by the project partners [CY; DE; IT (Tar; Rom); UK (Gla; Hud)] or by the associated partners/hosts [ES; IT; SV; PT]. All concerts will have either free entrance or a small entrance fee to cover the expenses of the host. 14

15 By combining scientific and manufacturing knowledge with artistic inspiration, the concerts of musicians performing on reconstructions of ancient European musical instruments will showcase a range of solo instruments and ensembles. The series of concerts aim to bring together music cultures and traditions, the musical past with the present. The concerts will feature two different creative approaches to the reconstruction of ancient music: specially-composed material commissioned by the project, played on the replicas new interpretations of ancient musical notation By bringing these two approaches together, often in the same event and employing artists from a number of different countries, EMAP will provide an enhanced experience for audiences, develop the professional practice of the artists involved, and enrich the discipline of music archaeology. In specific events, EMAP researchers will join the professional musicians. Fig. 13 Stefan Hagel performing on Greek lyre replica; Cajsa Lund with Iron Age horn replica; Joachim Schween with Bronze Age lur Project activity will first be promoted at an international level by the 19 th Galway Early Music Festival [Galway/IE], hosting a Very Early Music Festival in May Further international promotion is offered by the partnership with the Tarraco Viva Festival [Tarragona/ES], which would host EMAP events in May UK (Gla) will organise the world premiere of the Ancient Music Show featuring musicians from all of the above-mentioned partners; this show will be repackaged for each of the six exhibition venues where they will be for example joined by outstanding guest musicians from across Europe, enhancing the project s profile and international dissemination. Among the music associations and ensembles taking part in concert events are: 15

16 . Fig. 14 Music associations and ensembles Public Workshops, Lectures, and School Programmes Public lectures, workshops, and school programmes will aim to reflect the main topics of EMAP. Scientists and artists involved will share their most recent research discoveries and reconstruction experiences with a wider audience. These events will take place in close relationship with the touring exhibition, during the second phase of the project. While the public lectures are selected from a large pool of EMAP collaborators from all over Europe, the workshops and school programmes are designed by two project partners (ES; SV). The expertise required to deliver workshop experiences to adults, schoolchildren and pre-school children will be developed also by the provision of hands-on training for local animateurs. All materials for these events will be cross-cultural, linking different centuries and countries. Several types of workshops are envisaged, each with a range of musical material to suit different ages and abilities. A dedicated section of the website will support schoolteachers and the leaders of workshops and courses, generating a pan-european sense of community through shared activities and the sharing of experience. The educational value and fun of these experiences is a key to EMAP s sustainability plan, extending the impact of the exhibition long after it leaves each country. 5.4 Work Package 4: Communication and Dissemination Except for the exhibition booklet, which is provided for free for each visitor to the exhibition, all print products and audiovisual releases will have a limited number of free promotional copies made available. For distribution, cooperation with a publishing house for the print releases and a label for 16

17 the CDs/DVD will be sought; alternatively, this activity will be managed directly in cooperation with the local venues and bookshops. Web Hosting The EMAP website will be the main platform for the dissemination of results. Media Coverage EMAP partners have a range of contacts in the national and international press, radio, and TV, including Discovery Channel, History Channel, National Geographic [int.]; Spiegel online, SWR [DE]; New Scientist, BBC, STV [UK]; Radio 3, RAI2, RAI3 [IT]; TVE, RNW, Radio 3 [ES]; Swedish Radio Ltd., SVT [SV]; MSNBC, ABC [USA]. Audiovisual Releases A compilation CD with music from the project will be available for sale at the exhibition (print run: 2000 copies). It will feature a selection of tracks taken from 5 CDs that will be released of project music (2500 free copies/500 copies each CD). Audio download files will be available via the website, either free or sold through online distributors such as itunes, spotify and amazon. The DVD will be available for sale at the exhibition (print run: 3000 copies; free edition for promotion: 1000 copies); video excerpts will be available via the website. Cooperation with a TV station such as BBC is being sought. Print Releases An Exhibition Catalogue for sale at the exhibition (print run: 7000 copies; free edition for promotion: 1000 copies). The free Exhibition Booklet (print run: copies). The Children s Book for sale at the exhibition (print run: 7000 copies; free edition for promotion: 1000 copies). Conference Volumes will be available for sale during the project period copies of the conference on Ancient Brass will be available free, as well as a smaller amount of copies of the ISGMA publications. 5.5 Work Package 5: Administration The coordinator will be responsible for the central administration of the project. This includes providing the project manager and a core staff of assistants. The coordinator will also create the corporate image of the project, and ensure that the wiki and the website are implemented and maintained. Additional management and administration staff will be provided by those co-organisers that host an exhibition venue [IT (Rom), CY], or are in close contact with associated partners providing an exhibition venue [SV; DE; ES]. These co-organizers will also be responsible for taking care of related administrative issues, such as manufacturing, transportation, insurance of the exhibition, and printing of project s releases in local languages. 17

18 6. Sustainability The exhibition will be developed into a free-standing, self-sustaining entity, able to function in the long term. The Coordinator will create a non-profit Foundation, The Tarquinia Trust (TT) dedicated to the Music of Ancient European Civilizations. The web site will be maintained until 2028 to provide continued access to EMAP. Audio, visual, and print releases will provide a lasting record of events. For further specifications, see e-form, section E General Timeline Currently, the programme is in its pre-submission phase of June 2010 to September 2012, during which six international meetings were held and a wiki established to develop the project and prepare the application. This phase was significant, as it demonstrated that strong relationships have already been developed between the various participants, and that objectives, organization and administrative matters have already been discussed. It will also ensure that the project can start quickly as soon as funding is available. The project is broken down into three stages: 1. Preparation June 2013 to May 2016, preparation of materials and publications. 2. Delivery May 2016 to November 2017, delivery of the exhibition and performances. 3. Conclusion December 2017 to May 2018, preparing the final report, set up of the means for sustainability. After the funded period, the fourth stage is: 4. Legacy November 2016 to November 2026, activities of the Tarquinia Trust. 18

19 Fig. 15 General Timeline 19

20 8. Key to Abbreviations 20

21 For all country names ISO 3166 codes are used. 21