jesús salius

jesús salius
The Latin name Salius is the equivalent of Halios (Ἅλιος), the Phaeacian dancer in the Odyssey who loses his athletic competition. Plutarch says that a Salius from Samothrace or Mantinea was reputed to be the legendary founder of the Salian priests, but that the sodality in fact was named from the leaping (Latin salire) of their armed dance.

Friday, July 24, 2015

New book about Ethnoarchaeomusicology

Etnoarqueomusicología: la producción de sonidos y la reproducción social en las sociedades cazadoras-recolectoras
Jesús Salius

ISBN: 978-84-00-09935-0
Nombre de colección:Treballs d'etnoarqueologia
Lugar de edición:Madrid
Número de páginas:211
Materia(s): Arqueología; Antropología 
Precio:24,00 €
IVA:4,00 %


¿Por qué la música ha tenido una presencia tan importante en las sociedades antiguas que conocemos? ¿Cuál es el papel de la música en las sociedades cazadoras-recolectoras del Paleolítico superior? ¿Cómo se concretaban estos comportamientos musicales y ceremoniales? ¿Cómo la musicología y la arqueología pueden encontrar la manera de "arqueologizar" muchos de los elementos esenciales que formaron parte de estos comportamientos sociales? La necesidad de afrontar estas cuestiones implicó un estudio etnoarqueomusicológico profundo de los comportamientos musicales y ceremoniales de las sociedades cazadoras-recolectoras alutiiq, yupik e inupiaq de Alaska.

El objetivo de este trabajo es presentar un conjunto de evidencias esenciales que definen los contextos musicales y ceremoniales que se pueden detectar y analizar mediante las técnicas arqueológicas actuales. Los resultados aportan nuevo conocimiento sobre el análisis arqueológico de unos comportamientos sociales poco estudiados hasta hoy.


Jesús Salius Gumà

Jesús Salius es músico intérprete y musicólogo. Doctor en Arqueología Prehistórica por la Universitat Autònoma de Barcelona, es también licenciado en Musicología Histórica por la Escola Superior de Música de Catalunya (ESMUC). Su tesis doctoral versa sobre el rol de la producción de sonidos en las antiguas sociedades cazadoras-recolectoras y propone nuevas herramientas metodológicas para abordar un estudio arqueológico profundo de los comportamientos musicales y ceremoniales de las sociedades pretéritas, esto es, la etnoarqueomusicología.


Introducción.- Las sociedades alutiiq, yupik e inupiaq. Sociedades cazadoras-recolectoras que producían ceremonias y festividades.- Las principales ceremonias y festividades alutiiq, yupik e inupiaq. La organización social, ceremonial y festiva.- Las evidencias arqueológicas de la producción y el consumo de las ceremonias y festividades alutiiq, yupik e inupiaq.- Conclusiones. Un paso metodológico en la arqueología de los contextos ceremoniales y festivos.

Tuesday, May 19, 2015

The production of sound is a significant human capacity

Use and Sonority of a 23,000-Year-Old Bone Aerophone from Davant Pau Cave (NE of the Iberian Peninsula)

Juan José Ibáñez, Jesús Salius, Ignacio Clemente-Conte, and Narcís Soler
Current Anthropology
Vol. 56, No. 2 (April 2015), pp. 282-289

The production of sound is a significant human capacity that is used, through the generation of feelings and emotions, for conditioning social and biological reproduction. Despite this elevance and although several hundred instruments have been attributed to the production of sound along the Upper Paleolithic, our knowledge of how and in what contexts music was played during this period is still quite limited. In this paper, the aerophone found in the Davant Pau excavation, in the northeast part of the Iberian Peninsula, dated to 23,000 years cal BP, is studied to infer, through experimentation and microwear analysis, how it was made and used. It is a whistle-type instrument that would have allowed the production of an almost monotonic sound, which could be acutely syncopated, generating a fast rhythm. This is a type of sound most probably used in collective ceremonies in which the coordination of the participants was important, as observed in several ethnographic studies of hunter-gatherer groups.

Wednesday, March 25, 2015


Archaeoacoustics: Hypothesis and proposals about Romanesque churches

Work in progress!!

Església del Castell de Sant Miquel d'Olèrdola


Archaeoacoustics: Hypothesis and proposals about Romanesque churches

Work in progress!!

Sant Pere del Castell de Subirats

Thursday, August 21, 2014

4,000 year old 'baby rattle' among Kültepe finds

4,000 year old 'baby rattle' among Kültepe finds

A baby rattle has been found in the Kültepe Kaniş-Karum trade colony, where excavations have been continuing since 1948 in the central Anatolian province of Kayseri. A baby rattle has been found in the Kültepe Kaniş-Karum trade colony,  where excavations have been continuing since 1948 in the central  Anatolian province of Kayseri [Credit: DHA] A team from Ankara University Archaeology Department, headed by Professor Fikri Kulakoğlu, has been working in the area and unearthed the rattle, which dates back to 2,000 B.C. Kulakoğlu said works had been continuing there for 69 years. He said, “Archaeological excavations have been carried out in Kültepe since 1948. Here it is possible to find what we [commonly] find in houses today. [We have found] Pots and pans, glasses, oven, seats and etc. We have seen all of these things in the excavations for nearly 70 years. There are also very interesting objects. We have found a toy, which we estimate to date back to 2,000 B.C., being the oldest in the world.” The baby rattle is estimated to date back to 2,000 B.C [Credit: DHA] The professor said more than 50,000 people were living in Kültepe 4,000 years ago, adding, “There are very fine objects from a big metropolitan. We sometimes think the population was above 70,000. Some of them were Assyrians, but most of were Anatolians. Of course, not all of them were adults. Among them are young people, children and babies. We naturally found objects that we associate with babies. For example, one of them is a rattle. It is made of kiln and has pebbles inside. It makes a sound when it is shaken just like baby rattles we all know today.” 

Read more at:

Monday, May 12, 2014

Musical instruments and Archaeology

Musical instruments and Archaeology

Saturday, March 8, 2014



This website is principally focused on a research project funded by the Arts and Humanities Research Council in the UK. The project involves exploring how acoustics, music and sound relate to prehistoric art in Cantabrian Caves. The research will include field tests In July 2013 in caves that are part of the Altamira World Heritage Site.
This project will explore the acoustics of prehistoric painted caves in Northern Spain, to establish whether a secure relationship can be established between the positioning of painted motifs and sonic effects within the caves. Sound has the potential in many fields of archaeology to provide information that is not available by studying visual or material properties. This project is of particular interest since the documented presence of rock art and the acoustic characteristics of the spaces in which the paintings were made, provide two sets of quantifiable data that can be compared and whose relationships can be analysed.
Reznikoff and Dauvois (1988) have suggested a specific link between the positioning of cave paintings in southwest France and the patterning of acoustic resonances, reverberation and echoes. However the methodology used was not based on rigorous acoustical analysis, but was somewhat subjective, researchers using their voices to search for vocal effects. The present project would be the first attempt to test their theory using a rigorous scientific methodology. The project will involve travel to the UNESCO world heritage site “Cave of Altamira and Paleolithic Cave Art of Northern Spain”, where a group of caves includes the oldest dated cave painting in the world, recently identified as 41,000 years old.
A preliminary investigation carried out by members of the team in the summer of 2012 involved visits to a number of the caves, the taking of exploratory measurements, and trialling of different methodologies. Sites included Tito Bustillo, Monte Castillo, Pasiega, Chimneas, and the recently discovered La Garma. This work made clear that the acoustic effects are as impressive as the cave paintings. There were tantalizing spatial connections between images and sounds, but a frustrating lack of time or funding prevented their full investigation. Practical issues have subsequently been explored and relationships developed between British and Spanish researchers which now make possible a more thorough exploration of these phenomena.
The project will systematically map the acoustics of the caves, recording impulse responses that can later be analysed to produce a range of acoustic information. This will then be compared with the already mapped positions of rock art. This is a cross-disciplinary project in which the new research lies in the combination of scientific, archaeological and musical methodologies, rather than in advances in any one of these fields. The project is Arts and Humanities-led, using state of the art acoustic technologies to make discoveries about music, sound, archaeology, heritage and prehistoric culture. The project will also provide a case study to illustrate the quality and significance of the results that can be achieved by such research.
The project was born as a direct result of networking established through the “Acoustics and Music of British Prehistory Science and Heritage Research Cluster” (2009), which established base-line methodologies and research questions for fieldwork of this kind. The current project intends to apply these methodologies within a specific archaeological context of high potential.
Acoustic effects in the caves will be assessed quantitatively using statistical software to establish whether there are significant links between positions of cave art and acoustic effects. The project will also involve the recording of performances in the caves on experimental archaeological reproductions of musical instruments from the relevant prehistoric period, in order to explore the acoustics of the space in qualitative terms. It will also involve photographic survey and high quality digital video footage to provide high impact dissemination. Musical composition will use recordings and impulse responses, and be integrated with visual materials to create immersive multimedia artworks that can provide phenomenological experiences of spaces that are sonically rich.