Anna Friederike Potengowski’s scientific contributions

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Publications (3)


Experimental Reconstructions of the Mammoth Ivory Flute from Geißenklösterle Cave (GK3) and Other Palaeolithic Wind Instruments from South-West Germany
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December 2023

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160 Reads

Journal of Music Archaeology

Anna Friederike Potengowski

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Gabriele Dalferth

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Wulf Hein

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[...]

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The present paper provides a multidisciplinary approach integrating musicological, acoustical, and manufacturing aspects to the archaeological study of the mammoth ivory instrument from Geißenklösterle Cave (GK3). We present information on the archaeological background and the find history, and new insights into the playing technique of the instrument, confirming that GK3 was designed as a flute with a notch (M. Malina, S. C. Münzel). Subsequently, physical parameters causing pitch variability in general and their impact on the response of the low register of extended reconstructions are explored (G. Dalferth), before actual experiences of the chaîne opératoire of the GK3 ivory instrument are supplied (W. Hein). Due to its incompleteness, this Palaeolithic instrument allows for variability in reconstructing. A comparative tonal analysis of eight GK3 reconstructions in different lengths was conducted (A. F. Potengowski), offering new clues to possible musical intervals of the original instrument. Finally, the requirements for future research are considered.

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Fig. 1 The reconstructions used for this study, made by F. Seeberger (a) and W. Hein (b, c, d).-a. Reco of GK1 from Geißenklösterle with three finger holes from the radius of a whooper swan (Cygnus cygnus).-b. Reco of GK3 from Geißenklösterle with a notched blowing end and three finger holes, made of mammoth ivory.-c. Reco of HF1 with two notches (one on the anterior and one on the posterior face) and five finger holes, made from the radius of a grif­ fon vulture (Gyps fulvus).-d. Reco of F3α with four finger holes, made from the ulna of a griffon vulture (photo by F. Korte; Potenkowski-Münzel 2015). 
Fig. 5 Graphic documentation of the analysis of reconstructions of four Palaeolithic wind instruments played without a mouthpiece. 
Interpreting Three Upper Palaeolithic Wind Instruments from Germany and One from France as Flutes. (Re)construction, Playing Techniques and Sonic Results.

January 2016

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242 Reads

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7 Citations


Citations (1)


... Both caves are known for the earliest mobile art discovered in the Aurignacian layers, such as female and therianthropic figurines, as well as numerous animal figurines carved from mammoth ivory (Conard, 2003(Conard, , 2009, personal ornaments (Wolf, 2015;Wolf and Conard, 2015) and the earliest musical instruments Conard et al., 2009a, Conard et al., 2009bHahn and Münzel, 1995Münzel et al., 2016). All of these important finds are attributed to modern humans and are part of UNESCO World Heritage within the context of the "Caves and Ice Age Art in the Swabian Jura". ...

Reference:

A diachronic study of human-bear interactions: An overview of ursid exploitation during the Paleolithic of Germany
Interpreting Three Upper Palaeolithic Wind Instruments from Germany and One from France as Flutes. (Re)construction, Playing Techniques and Sonic Results.