Overview and response to reviewers of The Singing Neanderthals

Why are humans musical? Why do people in all cultures sing or play instruments? Why do we appear to have specialized neurological apparatus for hearing and interpreting music as distinct from other sounds? And how does our musicality relate to language and to our evolutionary history? Anthropologists and archaeologists have paid little attention to the origin of music and musicality — far less than for either language or ‘art’. While art has been seen as an index of cognitive complexity and language as an essential tool of communication, music has suffered from our perception that it is an epiphenomenal ‘leisure activity’, and archaeologically inaccessible to boot. Nothing could be further from the truth, according to Steven Mithen; music is integral to human social life, he argues, and we can investigate its ancestry with the same rich range of analyses — neurological, physiological, ethnographic, linguistic, ethological and even archaeological — which have been deployed to study language. In The Singing Neanderthals Steven Mithen poses these questions and proposes a bold hypothesis to answer them. Mithen argues that musicality is a fundamental part of being human, that this capacity is of great antiquity, and that a holistic protolanguage of musical emotive expression predates language and was an essential precursor to it. This is an argument with implications which extend far beyond the mere origins of music itself into the very motives of human origins. Any argument of such range is bound to attract discussion and critique; we here present commentaries by archaeologists Clive Gamble and Iain Morley and linguists Alison Wray and Maggie Tallerman, along with Mithen's response to them. Whether right or wrong, Mithen has raised fascinating and important issues. And it adds a great deal of charm to the time-honoured, perhaps shopworn image of the Neanderthals shambling ineffectively through the pages of Pleistocene prehistory to imagine them humming, crooning or belting out a cappella harmonies as they went.

Developments in radiocarbon calibration for archaeology

This update on radiocarbon calibration results from the 19th International Radiocarbon Conference at Oxford in April 2006, and is essential reading for all archaeologists. The way radiocarbon dates and absolute dates relate to each other differs in three periods: back to 12400 cal BR radiocarbon dates can be calibrated with tree rings, and the calibration curve in this form should soon extend back to 18 000 cal BP Between 12 400 and 26000 cal BR the calibration curves are based on marine records, and thus are only a best estimate of atmospheric concentrations. Beyond 26000 cal BR dates have to be based on comparison (rather than calibration) with a variety of records. Radical variations are thus possible in this period, a highly significant caveat,for the dating of middle and lower Paleolithic art, artefacts and animal and human remains.

Budding Aphrodite: into the future

As with many aspects of antiquity, the more we discover about Aphrodite, the more we seek. Images of her or others in her guise are extensive; work over the last two hundred years provides important historical and archaeological contexts that connect the images with their creators and users. These contexts are now an important means of understanding Aphrodite’s divine personality or role(s) in various places and times. Although ancient attestation for her is sometimes less than for other goddesses, there is certainlymore post-antique evidence for her Nachleben— as herself, as Venus, or as an archetype or stereotype. Our comprehension is nonetheless complicated by the variety of ways she is perceived and received—in cult, art, and literature—up to the present.

Introduction

Lying at its core, antiquity has saturated Western culture so thoroughly as to be present everywhere, and it is continually revealing itself in new ways. The aspects of the ancient world which we imitate, ridicule, fantasise about, shudder at or privilege tell us who we are—as they always have. As long as our culture continues to evolve, there will always be new things to be learned about its ancient Greek and Roman heritage. Classics For All invites both academic (from a variety of disciplines) and non-academic readers to take a fresh look at the ancient world as inspiration in mass culture.