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Divje Babe flute

May 01, 2023

The Divje Babe flute, also called tidldibab, is a cave bear femur pierced by spaced holes that was unearthed in 1995 during systematic archaeological excavations led by the Institute of Archaeology of the Research Centre of the Slovenian Academy of Sciences and Arts, at the Divje Babe I near Cerkno in northwestern Slovenia.[1][2] It has been suggested that it was made by Neanderthals as a form of musical instrument, and became known as the Neanderthal flute. The artifact is on prominent public display in the National Museum of Slovenia in Ljubljana as a Neanderthal flute.[3] As such, it would be the world's oldest known musical instrument.[4] Like many other Middle Paleolithic (Mousterian) finds that might reflect symbolic behavior and advanced cognitive abilities among Neanderthals, this find was met with severe criticism and rejection by a part of the scientific community.[5][6][7][8] Finds of symbolic significance are of primary interest within Paleolithic research. Special attention is devoted to the discoveries that predate the arrival of anatomically modern humans in Europe about 40,000 years ago.

Divje Babe flute
The artifact as displayed in the museum
MaterialBone
CreatedMiddle Paleolithic (50000 - 60000 BP)
Discovered1995 near Cerkno, Slovenia
Present locationNational Museum of Slovenia, Ljubljana

Site and similar findings in Slovenia

 
Excavation in Divje Babe I Cave

The location of the site is a horizontal cave, 45 metres (148 ft) long and up to 15 metres (49 ft) wide; it is 230 m (750 ft) above the Idrijca River, near Cerkno, and is accessible to visitors. Researchers working at the site have uncovered more than 600 archaeological items in at least ten levels, including twenty hearths[9] and the skeletal remains of cave bears.[10] According to the museum's statements, the flute has been associated with the "end of the middle Pleistocene" and with Neanderthals, about 55,000 years ago.[11]

In the 1920s and 1930s, professor Srečko Brodar (father of Mitja Brodar) discovered tens of bones with holes at another site in the Eastern Karawanks, but almost all of them were destroyed in an Allied air raid[12] during World War II in Celje, where they were stored. Of those still preserved, the best known is a mandible of a cave bear with three holes in the mandibular canal.[13]

 
Potočka zijalka, a cave in the Eastern Karawanks, where the remains of a human residence, dated to the Aurignacian (40,000 to 30,000 BP), including a bone flute, were found by Srečko Brodar in the 1920s and 1930s. This marks the beginning of Paleolithic research in Slovenia.

Since World War II, some other perforated bones have been found. These bones are preserved today at the National History Museum of Slovenia as well. According to Mitja Brodar, who discovered many of them, bones with holes have been dated only to the end of the Mousterian and the beginning of the Aurignacian. Bones with holes such as those found in the Potočka zijalka cave have been ascribed to modern human Cro-Magnon,[14] and Mitja Brodar asserted that they are an element of the Central European Aurignacian.[15] He further posited that the Divje Babe Flute is a product of modern humans.

Neanderthal flute

Unlike Upper Palaeolithic flutes, the total original length of the Divje Babe Neanderthal musical instrument has been preserved allowing its reliable reconstruction. Considering the preserved total length, the number of holes, and the existence of partially preserved blowing edge on proximal end, simple and reliable reconstruction of the find as a musical instrument was made. The reconstruction is based on the finding that the femur was first an artefact from which a carnivore had subsequently (when the object was lost or discarded) gnawed off now missing parts. The Neanderthal musical instrument from Divje babe I meets all the requirements to be called the oldest known musical instrument. These are: clear archaeological and stratigraphic context, dating, explanation of manufacture, musical verification, and good comparisons in later periods. This find is currently the strongest material evidence of Neanderthal musical behaviour. It is at least 10,000 years older than the earliest Aurignacian wind instruments discovered in the German caves Hohle Fels, Geißenklösterle and Vogelherd.[16][17] The Neanderthal musical instrument is on display at the National Museum of Slovenia in Ljubljana.

Description of the Neanderthal flute

 
Divje Babe flute - holes

The bone of which Neanderthal flute is made, is a 11.4 cm long left diaphysis of femur that belonged to a one to two year old cave bear cub. On the posterior side, there are two complete holes (Holes 2 and 3 of the flute) in the central diaphysis. Notch 1 (Hole 1 of the flute) is located near the proximal end. The larger, semicircular notch (Notch 4 of the flute) is located at the distal end. On the anterior side, another semicircular notch 5 (Hole 5 of the flute) is located near at the distal end. This notch is equivalently positioned longitudinally as is Hole 3 on the posterior side. Holes 2 and 3 are approximately the same size. Notches 1 and 5 are both the same size, but smaller than Holes 2 and 3. All the holes and notches are arranged in a line and have a similar morphology, except for the larger notch 4.[18][19][20] Proximally and distally to Hole 3, a portion of the cortical bone is abraded. On this spot, a longitudinal fibrous bone structure is exposed. Near the proximal edge of Hole 3, there are two parallel micro-scores on the abraded surface of the cortical bone, corresponding to the cut marks of stone tools.[21][22][23][24] Abraded cortical bone and two parallel micro-scores indicate artificial modification of the cortical bone before Hole 3 was made. By thinning the cortical bone where it is the thickest, Neanderthals facilitated perforation of the femur. Inside the medullary cavity from which the spongy bone was removed, the cortical bone is broken off at the edge of Hole 1, 2, 3, and 5.[25] A funnel-shaped fracture of the inner edge of these holes is a typical damage occurring during piercing the cortical bone. The presence of this fracture proves that there were originally 4 holes on the femur. Notch 4 cannot be said to have the same origin as the other holes and notches because Notch 4 does not have a funnel-shaped fracture inside the medullary cavity. On the posterior side of the bone, a V-shaped fracture is present on the proximal end, reaching the nearest Notch 1. A similar fracture is present on the anterior side of the distal end, reaching Notch 5. The V-fracture is a typical carnivore damage that occurred after the flute was no longer in use. On the proximal end, part of the straight sharp edge bevelled on both sides (the mouthpiece of the flute) is preserved,[26] which is abruptly interrupted by a V-shaped fracture on the anterior side.

Context and dating of the Neanderthal flute

The Neanderthal flute was found in the Mousterian level, which contained lithic artefacts and hearths. The flute was cemented into the phosphate breccia in close proximity to the hearth.[27][28] Between the Mousterian level containing the flute and the Aurignacian level containing stone artefacts and osseous points of anatomically modern humans, lay about 2 m of sediment. Based on the average AMS-14C age of the charcoal found in the hearth, the age of the flute was initially estimated at 43,100 ± 700 years BP.[29] Later dating using the more powerful ESR method has shown that the layer containing the flute is outside the dating range of the AMS-14C method and that the original dating of samples from this layer was incorrect. According to ESR dating, the age of the flute is now estimated at 50,000 to 60,000 years BP.[30][31]

Origin of the holes: human or carnivore?

Since the discovery, the key question has been whether the holes were made by a human or a carnivore, that is, whether the object is an artifact or simply naturally altered bone. Upper Palaeolithic flutes made from the limb bones of mammals show clear traces of artificial creation of holes which were carved or drilled with stone tools. In flutes made from thin, delicate bird bones, the holes were made by grinding the bone cortex.[32] The edge of the holes on the Neanderthal flute differs from those on Upper Palaeolithic flutes and shows no conventional signs of human manufacture (i.e., cut marks). In addition, both ends of the Neanderthal flute show damage typical of gnawing by carnivores.[33] The excavation leader Ivan Turk suggested two possible explanations shortly after the discovery: An artefact or a gnawed bone pierced with teeth.[34] According to the first explanation, this find would be the oldest musical instrument indisputably attributed to Neanderthals. The explanation that the find is a bone gnawed and pierced by a carnivore has been unhesitatingly accepted by some scientists.[35][36][37][38][39] Their investigations of the find were distinctively one-sided and, with a one exception,[40] contained no experiments. A critical review of their reasoning was presented by Ivan Turk et al.[41][42][43] To clarify the origin of the holes, Ivan Turk and his colleagues experimentally investigated whether the holes might have been made by carnivores or human.

Experimental testing of the carnivore origin of the holes

Besides prevailing cave bears, rare large carnivores could hypothetically have made holes in the bones at Divje babe I. These are brown bear, cave lion, leopard and wolf, which together comprise less than 0.1% of all large mammal remains excavated at Divje babe I.[44] No cave hyena skeletal remains, digested bones, or coprolites were found to prove its presence at this site. To test the hypothesis that carnivores caused the holes in the bone, metal dental casts of cave bear, wolf and hyena (which was the main cause of damage to the bones in the caves where it was present) dentition were made. The casts were used to pierce juvenile and adult fresh brown bear femurs.[45] Experimental piercing showed that the two complete holes are comparable in shape and size only to those caused by the canine teeth of a bear. As for the bear bite, however, their orientation is problematic. Namely, the canines of bears have an oval cross-section in the labial-lingual direction. Since the two complete holes in the Neanderthal flute are slightly oval in the direction of the longitudinal axis of the femur, the bear would have to align the bone in its snout longitudinally with its jaw when biting into it. It would have to do this for every hole individually which is highly unlikely. Furthermore, holes pierced with canine teeth have smooth edge, whereas the edge of the holes on the Neanderthal flute is irregular and serrated. The results of experimental piercing have revealed that holes on the flute could not have been produced by a carnivore. It is practically impossible for a carnivore to make two or more holes on the thickest and the rigid central part of the juvenile femur without breaking it. Moreover, it is very difficult for a carnivore that would bite the bone with canine teeth to get all the holes in a straight line in several successive bites, especially when the bone is fresh and greasy.[46]

Experimental testing of the artificial origin of the holes

Pointed stone tools appropriate for piercing bone were found in several Mousterian levels at Divje babe I.[47] There are broken tips, fractures and macroscopic damage presented on some pointed stone tools. It was proved experimentally that the same type of damage occurs if one hits the stone tool with a wooden hammer when chiselling and piercing the bone.[48][49][50] In addition, several ad hoc bone punches were found in Mousterian levels.[51][52] The answer to the question of how Neanderthals could make comparable holes in bones was provided by experimental archaeology. The first step in this direction was made by the experimental archaeologist Giuliano Bastiani.[53][54] Using replicas of pointed stone tools, Bastiani pierced the bone in a way previously unknown to archaeologists. He used the pointed stone tool simultaneously as a chisel and a punch, and succeeded in making holes in the fresh femur similar to those on the flute (i.e., holes with irregular, serrated edge). The most important conclusion of his experiment was that the edge of the holes made in this way did not always show the characteristic cut marks left by a stone tool. However, the holes made by Bastiani did not have such pronounced funnel-shaped fractures around the inner edge, as found on the holes of the flute. The holes, which in this respect also correspond to those of the flute, were made by the archaeologist Francois Zoltán Horusitzky.[55][56] Using a pointed stone tool, Horusitzky first made a shallow pit in a fresh bone without piercing it. He then inserted a bone punch into the pit and struck it with a wooden hammer to pierce the bone cortex, creating a hole that exactly matched that of the flute. The holes made with this technique have a pronounced funnel-shaped fracture around the inner edge and show no conventional tool marks.

Computed-tomography analysis

 
Divje Babe flute

Computed micro-tomography confirmed that there are scores on the surface of the Neanderthal flute that could have been made by stone tools. Some of the damage on the bone, interpreted by some scientists as teeth marks, turned out to be the result of chemical weathering.[57][58] It was confirmed that a crack on the posterior side of the femur, which zigzags longitudinally from one end to another is superficial and thus not related to piercing.[59][60][61] Such cracks often occur on limb bones during fossilization. Given its course, the crack on the flute is significantly different from continuous, rectilinear in-depth cracks that occurred during experimental piercing when compressing fresh young bear femurs with metal casts of carnivore dentition.[62]

Criticism and rejection after the excavation

Whether the artifact is actually a flute created by Neanderthals was a subject of a long debate. A critical issue at the time of excavation was uncertainty about whether the holes in the flute are of artificial origin. Slovenian archeologist Mitja Brodar argued in 2008 that the flute was made by Cro-Magnons as an element of Central European Aurignacian culture.[15] Others suggest it was altered by animals.[63][64][65][66] Claus-Stephan Holdermann, Jordi Serangeli, Philip G. Chase, April Nowell, and French-based Italian taphonomist Francesco D'Errico have all supported a carnivore origin.[67]

Hole-spacing, alignment and shape

The probability that four randomly placed holes would appear in line in a recognizable musical scale is very low according to a 2000 analysis made by Canadian musicologist Bob Fink.[68] Responding to the D'Errico carnivore-origin hypothesis, Turk pointed out that the features "common" between the carnivore-origin artifact and other chewed bones studied by D'Errico (see Hole shape below) do not include the alignment of the holes.

There is also no evidence that the two holes could have been bitten at the same time. The tooth spans were analyzed by all taphonomists concerned to see if any animals could bite two or more such holes at once. No match could be found to any known animals. If a match had been found, it could have been cited as prima facie evidence that the holes were animal-made. This was noted by Turk in his book and was also noted from the opposing hypothesis holders Nowell and Chase in their article in the August/October 1998 issue of Current Anthropology. Nowell wrote that holes in the specimen "were almost certainly made sequentially rather than simultaneously and that the distance between them has nothing to do with the distance between any two teeth in a wolf's jaw."[69]

Iain Morley, despite holding the carnivore-origin hypothesis, observed in his November 2006 article that "[w]hilst the collections of cave bear bones examined by D'Errico ... as well as those discussed by Turk ... do show similar shaped and damaged holes ... none of these occur in the diaphysis of a femur," as is found on the reputed flute.[70]

Marcel Otte (director of the Museum of Prehistory, University of Liege, Belgium) pointed out in an April 2000 article in Current Anthropology that there is a possible thumb-hole on the opposite side of the Divje Babe bone, which, making five holes, would perfectly fit a human hand.

Turk wrote in the MIT Press book The Origins of Music: "If this probability [of having lined-up holes looking like a flute] were greater (and of course it isn't), it is likely that there would have been more such finds, since ... carnivores in cave dens were at least as active on bones, if not more so, than people in cave dwellings ...".

In 2015 Cajus G. Diedrich suggested the holes could be explained by scavenging from spotted hyena.[66]

D'Errico made an analysis of the artifact in comparison to cave-bear bone accumulations where no hominid presence was known.[63] They published photos of several bones with holes in them which had more or less circular holes similar to those found in the artifact, but they did not have a single bone coming even close to the linear alignment of Turk's holes. Ignoring the probability of the alignment of the holes, D'Errico's interpretation was that it was possible for the holes to have been made by an animal, and they concluded that of the available options this was the most likely. D'Errico insisted on ignoring the probability of the alignment of the holes and, even after having analyzed the artifact firsthand, claimed that "the presence of two or possibly three perforations on the suggested flute cannot therefore be considered as evidence of human manufacture, as this is a common feature in the studied sample."[71]

Turk conducted laboratory experiments which pierced holes in fresh bear bones in the manner of carnivore punctures, and in every case, the bones split. Yet in the Divje Babe instance, the bone did not break, a fact not matching expectations of carnivore action, as Turk's results showed. Turk wrote, in his book and in his article in MIT's Origins of Music anthology, the bone shows no "counter-bites" that one would normally expect on the other side of the bone matching the immense pressure necessary for a bite to make the center holes.

Turk's 1997 book reported that the holes have similar diameters which would accommodate fingertips, and all are circular instead of oval (as carnivore bites often are). Furthermore, all are in the proper ratio of bore size to hole size found in most flutes, and the bone is the kind (femur) usually used for bone flutes.

An examination of the specimen using computed tomography was published in 2005 by Ivan Turk, in which he concluded that "the two partially preserved holes were formerly created before the damage ... or before the indisputable intervention of a carnivore."

The National Museum of Slovenia argues that this evidence has "finally refuted hypotheses that the bone was perforated because of a bear bite". The manufacture by Neanderthals "is reliably proven" and its significance in the understanding of their capabilities and the development of music and speech is secure.[11]

Bone marrow

The issue of how much bone marrow remains in the artifact is important, because the making of flutes from bone usually includes removing the marrow.

Turk et al. (in the volume Mousterian Bone Flute, p. 160) wrote that "the marrow cavity is basically cleaned of spongiose. The colour of the marrow cavity does not differ from the colour of the external surface of the bone. So we may conclude that the marrow cavity was already open at the time ... Otherwise, it would be a darker colour than the surface of the bone, as we know from coloured marrow cavities of whole limb bones."

April Nowell stated in an interview that "at Turk's invitation, [Nowell] and Chase went to Slovenia last year ... They came away even more skeptical that the bear bone had ever emitted music. For one thing, both ends had clearly been gnawed away by something, perhaps a wolf, seeking greasy marrow. The holes could have simply been perforated in the process by pointed canine or carnassial teeth, and their roundness could be due to natural damage after the bone was abandoned. The presence of marrow suggests that no one had bothered to hollow out the bone as if to create an end-blown flute. Says Nowell, '[Turk's] willing to give it the benefit of the doubt, whereas we're not.' "[72]

Diatonic scale

 
Illustration of the diatonic flute by Bob Fink.
 
Collection of Tidldibab instruments, wooden replicas of the Divje Babe flute, made by Ljuben Dimkaroski.

Bob Fink claimed in his essay[73] in 1997, that the bone's holes were "consistent with four notes of the diatonic scale" (do, re, mi, fa) based on the spacing of those four holes. The spacing of the holes on a modern diatonic (minor scale) flute are unique, and not evenly spaced. In essence, Fink said, they are like a simple fingerprint. The Divje Babe bone's holes matched those spacings very closely to a series of note-holes in a minor scale.

Nowell and Chase wrote in Studies In Music Archaeology III that the juvenile bear bone was too short to play those four holes in tune to any diatonic series of tones and half-tones.[72] (Fink had suggested there may have originally been a mouthpiece extension added to the bone before it was broken.)

[Nowell] along with archeologist Philip Chase, had serious doubts as soon as they saw photos of the bone on the Internet ... The Divje Babe bone bears some resemblance to the dozens of younger, uncontested bone flutes from European Upper Paleolithic [UP] sites. But, says Nowell, these obvious flutes are longer, have more holes, and exhibit telltale tool marks left from their manufacture. No such marks occur on the bear bone. Fink proposed that the spacing of the flute's holes matches music's standard diatonic scale. ... Nowell and Chase teamed with a more musically inclined colleague to show that the bear bone would need to be twice its natural total length to conform to a diatonic scale ...[72]

In a 2011 article, Matija Turk published the results of a collaboration with Ljuben Dimkaroski, an academic musician who had made replicas of the artifact. The authors argue that the instrument encompassed a range of two and a half octaves, which can be extended to three octaves by overblowing.[74] Dimkaroski created over 100 wooden and bone replicas of the flute and experimented with them. The replicas were made from femurs of juvenile brown bears provided by the Hunters Association of Slovenia, but also calf, goat, pig, roe and red deer bones. In the end, he concentrated on playing a replica made on a femur of a juvenile cave bear from Divje Babe I Cave, to come as close as possible to the dimensions of the original.

Musical verification

 
Tidldibab, replica of the flute
Ljuben Dimkaroski playing scales on Tidldibab, replica of the Divje Babe flute

An additional argument for the thesis that the pierced femur from Divje babe I is an intentionally made musical instrument comes from experimental musical research on a reconstructed instrument. In its preserved state, the find is not suitable for playing music as are none of the other discovered Upper Palaeolithic wind instruments, traditionally called flutes or pipes.[75] The Neanderthal flute has been studied by several musical researchers.[76][77][78][79][80][81][82] In 2014, professional musician Ljuben Dimkaroski studied the flute experimentally, independently of previous research.[83][84] Dimkaroski, who played on a reconstructed replica, oriented the instrument differently than the others and used the proximal part of the femur as a mouthpiece. On the anterior proximal part a straight cut sharpened edge is preserved, which was not considered by previous researchers. This artificially modified edge may actually be a remnant of the blowing edge of the mouthpiece. With this orientation of the instrument, the role of Hole 5, the single hole on the anterior side, was clarified. In the primary orientation, the location of this hole was too close to the mouthpiece and thus was dysfunctional. Hole 5 now became useful as a palm hole. The reconstructed instrument has three finger holes (Holes 1–3) on the posterior side and a palm hole (Hole 5) on the anterior side of the femur. An opening on the distal part is in the function of bell or closure. With a finger of the right hand, the notch on the posterior distal side may be formed into an additional hole. The opening provides the possibility of playing on an open or closed bell, which additionally enriches the tonal range. The Neanderthal flute is played two-handed with Hole 5 being used to extend the air column to twice its length. This is a solution not used by modern wind instruments and means that there is no need for doubling the length of the instrument or adding a higher number of holes. As such, the Neanderthal flute and method of playing on it have no suitable comparison in contemporary musical instruments.[85][86]

The reconstructed Neanderthal flute has a capability of 3½ octaves and all contemporary music genres can be played on it. It is possible to perform a series of musical articulations and ornamentations such as legato, staccato, double and triple tonguing, flutter-tonguing, glissando, chromatic scales, trills, broken chords, interval leaps, and melodic successions from the lowest to the highest tones.[87] Dimkaroski came to conclusion that the four holes, their size and the distance between them, together with the distal end notch and the blowing edge of the mouthpiece comprise a system that enables a wide variety of sonority and melodic movement, and that such a system could not have emerged accidentally but was intentionally created. Any change in the system, whether changing the length of the instrument, adding or removing holes or an absence of sharpened blowing edge, evokes poorer musical expression as a consequence. Francois Zoltán Horusitzky reached the same conclusions by calculating the instrument's tonality.[88] According to Dimkaroski, the name "flute" is not appropriate for such an instrument, which could be considered a precursor of modern wind instruments. Since the instrument and the way it is played are not comparable to modern wind instruments, he named it TIDLDIBAB. The name is a composite word made up of the initials of the archaeologist who is credited with the discovery of the instrument (Turk Ivan), the musician and maker of its replicas (Dimkaroski Ljuben) and the name of its archaeological find spot (Divje Babe).[89]

See also

References

  1. ^ Turk, I., Dirjec, J., Kavur, B. 1995, The oldest musical instrument in Europe discovered in Slovenia? Razprave 4. Razreda Sazu 36, 287–293.
  2. ^ Turk, I. (ed.) 1997, Mousterian »Bone Flute« and Other Finds from Divje Babe I Cave Site, Slovenia. Opera Instituti Archaeologici Sloveniae 2, Ljubljana.
  3. ^ . Natural History Museum of Slovenia. Archived from the original on 3 January 2017. Retrieved 2 January 2017.
  4. ^ Omerzel-Terlep, Mira. "Koščene piščali: pričetek slovenske, evropske in svetovne instrumentalne glasbene zgodovine" [Bone flutes: Beginning of the history of the instrumental music in Slovenia, Europe, and world] (PDF). Etnolog (in Slovenian): 292. ISSN 0354-0316. (PDF) from the original on 2013-04-04.
  5. ^ d’Errico, F. Villa, P., Pinto Llona, A.C.P., Idarraga, R.R.A. 1998, Middle Palaeolithic origin of music? Using cave-bear bone accumulations to assess the Divje Babe I bone “flute”. Antiquity 72, 65–79.
  6. ^ Albrecht, G., Holdermann, C.S., Kerig, T., Lechterbeck, J., Serangeli, J. 1998, “Flöten” aus Bärenknochen—Die frühesten Musikinstrumente? Archäologisches Korrespondenzblatt 28, 1–19.
  7. ^ Chase, P.G., Nowell, A. 1998, Taphonomy of a suggested Middle Paleolithic bone flute from Slovenia. Current Anthropology 39, 549–553.
  8. ^ Morley, I. 2006, Mousterian musicianship? The case of the Divje babe I bone. Oxford Journal of Archaeology 25 (4), 317-333.
  9. ^ Turk, 2003
  10. ^ Yu 2001
  11. ^ a b The flute from Divje Babe, National Museum of Slovenia, 2005
  12. ^ Brodar M., Stara kamena doba v Sloveniji, 2009, p. 278.
  13. ^ Debeljak, Irena; Turk, Matija. . In Šmid Hribar, Mateja; Torkar, Gregor; Golež, Mateja; et al. (eds.). Enciklopedija naravne in kulturne dediščine na Slovenskem – DEDI (in Slovenian). Archived from the original on 15 May 2012. Retrieved 12 March 2012.
  14. ^ Omerzel-Terlep, Mira. "Koščene piščali: pričetek slovenske, evropske in svetovne instrumentalne glasbene zgodovine" (PDF). Etnolog (in Slovenian): 292. ISSN 0354-0316. (PDF) from the original on 2013-04-04.
  15. ^ a b Brodar, Mitja (26 September 2008). ""Piščalka" iz Divjih bab ni neandertalska" [The Divje Babe "Flute" is not Neanderthal] (in Slovenian). from the original on 28 July 2011.
  16. ^ Turk, M., Turk, I., Dimkaroski, L., Blackwell, B.A.B., Horusitzky, F.Z., Otte, M., Bastiani, G., Korat, L. 2018, The Mousterian musical instrument from the Divje babe I cave (Slovenia): Arguments on the material evidence for Neanderthal musical behaviour. L’anthropologie 122, 679–706.
  17. ^ Turk, M., Turk, I., Otte, M. 2020, The Neanderthal musical instrument from Divje Babe I Cave (Slovenia): a critical review of the discussion. Applied sciences 10 (4): 1226, 1-11. https://doi.org/10.3390/app10041226.
  18. ^ Turk, I., Pflaum, M., Pekarovič, D. 2005, Results of computer tomography of the oldest suspected flute from Divje babe I (Slovenia): Contribution to the theory of making holes in bones. Arheološki vestnik 56, 9–36.
  19. ^ Turk, I., Blackwell, B.A.B., Turk, J., Pflaum, M. 2006, Résultats de l'analyse tomographique informatisée de la plus ancienne flûte découverte à Divje babé I (Slovénie) et sa position chronologique dans le contexte des changements paléoclimatiques et paléoenvironnementaux au cours du dernier glaciaire. L'Anthropologie 110, 293–317.
  20. ^ Tuniz, C., Bernardini, F., Turk, I., Dimkaroski, L., Mancini, L., Dreossi, D. 2012, Did Neanderthals play music? X-ray computed microtomography of the Divje babe 'flute'. Archaeometry 54/3, 581–590.
  21. ^ Turk, I., Pflaum, M., Pekarovič, D. 2005, Results of computer tomography of the oldest suspected flute from Divje babe I (Slovenia): Contribution to the theory of making holes in bones. Arheološki vestnik 56, 9–36.
  22. ^ Turk, I., Blackwell, B.A.B., Turk, J., Pflaum, M. 2006, Résultats de l'analyse tomographique informatisée de la plus ancienne flûte découverte à Divje babé I (Slovénie) et sa position chronologique dans le contexte des changements paléoclimatiques et paléoenvironnementaux au cours du dernier glaciaire. L'Anthropologie 110, 293–317.
  23. ^ Tuniz, C., Bernardini, F., Turk, I., Dimkaroski, L., Mancini, L., Dreossi, D. 2012, Did Neanderthals play music? X-ray computed microtomography of the Divje babe 'flute'. Archaeometry 54/3, 581–590.
  24. ^ Turk, M., Turk, I., Dimkaroski, L., Blackwell, B.A.B., Horusitzky, F.Z., Otte, M., Bastiani, G., Korat, L. 2018, The Mousterian musical instrument from the Divje babe I cave (Slovenia): Arguments on the material evidence for Neanderthal musical behaviour. L’anthropologie 122, 679–706.
  25. ^ Tuniz, C., Bernardini, F., Turk, I., Dimkaroski, L., Mancini, L., Dreossi, D. 2012, Did Neanderthals play music? X-ray computed microtomography of the Divje babe 'flute'. Archaeometry 54/3, 581–590.
  26. ^ Dimkaroski, L. 2014, Musical research into the flute. From suspected to contemporary musical instrument. In: Turk, I. (ed.), Divje babe I. Upper Pleistocene Palaeolithic site in Slovenia. Part 2: Archaeology. Opera Instituti Archaeologici Sloveniae 29, Ljubljana, 215–222.
  27. ^ Turk, I., Kavur, B. 1997, Review and description of Palaeolithic tools and hearths. In: Turk, I. (ed.), Mousterian »bone flute« and other finds from Divje babe I cave site, Slovenia. Opera Instituti Archaeologici Sloveniae 2, Ljubljana, 119–149.
  28. ^ Turk, I., Dirjec, J., Turk, M. 2014, Presentation of fireplaces and hearths with stress on hearthside activities in the central cave area. In: Turk, I. (ed.), Divje babe I. Upper Pleistocene Palaeolithic site in Slovenia. Part 2: Archaeology. Opera Instituti Archaeologici Sloveniae 29, Ljubljana, 269–319.
  29. ^ Nelson, D.E. 1997, Radiocarbon dating of bone and charcoal from Divje babe I cave. In: Turk, I. (ed), Mousterian »bone flute« and other finds from Divje babe I cave site, Slovenia. Opera Instituti Archaeologici Sloveniae 2, Ljubljana, 51–64.
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Further reading

 
Wikimedia Commons has media related to Divje Babe Flute.
  • John H. Lienhard (1997). "Very Early Music". The Engines of Our Ingenuity. Episode 1232. NPR. KUHF-FM Houston.
  • Bower, B. (1998). "Doubts Aired over Neandertal Bone 'Flute'". Science News. 153 (14): 215. doi:10.2307/4010441. JSTOR 4010441.
  • Fink, Bob (1997). Neanderthal Flute. Greenwich. ISBN 978-0-912424-12-5. [2]
  • Fink, Bob (2003). . Archived from the original on March 15, 2019. Retrieved March 1, 2003.
  • Lau, Beverly; Blackwell, Bonnie A. B.; Schwarcz, Henry P.; Turk, Ivan; Blickstein, Joel I. (1997). "Dating a flautist? Using ESR (electron spin resonance) in the Mousterian cave deposits at Divje Babe I, Slovenia". Geoarchaeology. 12 (6): 507–36. doi:10.1002/(SICI)1520-6548(199709)12:6<507::AID-GEA2>3.0.CO;2-2.
  • . Archived from the original on 2005-09-02. Retrieved 2006-01-22.
  • Diedrich, Cajus G. (2015). "'Neanderthal bone flutes': simply products of Ice Age spotted hyena scavenging activities on cave bear cubs in European cave bear dens". Royal Society Open Science. 2 (4): 140022. Bibcode:2015RSOS....240022D. doi:10.1098/rsos.140022. PMC 4448875. PMID 26064624. Retrieved 2015-07-12.

External links

  • Kovač, Tinkara; Matoz, Zdenko (25 August 2017). "Tinkara Kovač – Divja baba in tidldibab [intervju]" [Tinkara Kovač: The Wild Woman [Divja baba] and Tildibab [interview]]. Delo.si (in Slovenian).

May 01, 2023
divje, babe, flute, also, called, tidldibab, cave, bear, femur, pierced, spaced, holes, that, unearthed, 1995, during, systematic, archaeological, excavations, institute, archaeology, research, centre, slovenian, academy, sciences, arts, divje, babe, near, cer. The Divje Babe flute also called tidldibab is a cave bear femur pierced by spaced holes that was unearthed in 1995 during systematic archaeological excavations led by the Institute of Archaeology of the Research Centre of the Slovenian Academy of Sciences and Arts at the Divje Babe I near Cerkno in northwestern Slovenia 1 2 It has been suggested that it was made by Neanderthals as a form of musical instrument and became known as the Neanderthal flute The artifact is on prominent public display in the National Museum of Slovenia in Ljubljana as a Neanderthal flute 3 As such it would be the world s oldest known musical instrument 4 Like many other Middle Paleolithic Mousterian finds that might reflect symbolic behavior and advanced cognitive abilities among Neanderthals this find was met with severe criticism and rejection by a part of the scientific community 5 6 7 8 Finds of symbolic significance are of primary interest within Paleolithic research Special attention is devoted to the discoveries that predate the arrival of anatomically modern humans in Europe about 40 000 years ago Divje Babe fluteThe artifact as displayed in the museumMaterialBoneCreatedMiddle Paleolithic 50000 60000 BP Discovered1995 near Cerkno SloveniaPresent locationNational Museum of Slovenia Ljubljana Contents 1 Site and similar findings in Slovenia 2 Neanderthal flute 2 1 Description of the Neanderthal flute 2 2 Context and dating of the Neanderthal flute 2 3 Origin of the holes human or carnivore 2 3 1 Experimental testing of the carnivore origin of the holes 2 3 2 Experimental testing of the artificial origin of the holes 2 3 3 Computed tomography analysis 2 4 Criticism and rejection after the excavation 2 4 1 Hole spacing alignment and shape 2 4 2 Bone marrow 2 4 3 Diatonic scale 3 Musical verification 4 See also 5 References 6 Sources 7 Further reading 8 External linksSite and similar findings in Slovenia Edit Excavation in Divje Babe I Cave The location of the site is a horizontal cave 45 metres 148 ft long and up to 15 metres 49 ft wide it is 230 m 750 ft above the Idrijca River near Cerkno and is accessible to visitors Researchers working at the site have uncovered more than 600 archaeological items in at least ten levels including twenty hearths 9 and the skeletal remains of cave bears 10 According to the museum s statements the flute has been associated with the end of the middle Pleistocene and with Neanderthals about 55 000 years ago 11 In the 1920s and 1930s professor Srecko Brodar father of Mitja Brodar discovered tens of bones with holes at another site in the Eastern Karawanks but almost all of them were destroyed in an Allied air raid 12 during World War II in Celje where they were stored Of those still preserved the best known is a mandible of a cave bear with three holes in the mandibular canal 13 Potocka zijalka a cave in the Eastern Karawanks where the remains of a human residence dated to the Aurignacian 40 000 to 30 000 BP including a bone flute were found by Srecko Brodar in the 1920s and 1930s This marks the beginning of Paleolithic research in Slovenia Since World War II some other perforated bones have been found These bones are preserved today at the National History Museum of Slovenia as well According to Mitja Brodar who discovered many of them bones with holes have been dated only to the end of the Mousterian and the beginning of the Aurignacian Bones with holes such as those found in the Potocka zijalka cave have been ascribed to modern human Cro Magnon 14 and Mitja Brodar asserted that they are an element of the Central European Aurignacian 15 He further posited that the Divje Babe Flute is a product of modern humans Neanderthal flute EditUnlike Upper Palaeolithic flutes the total original length of the Divje Babe Neanderthal musical instrument has been preserved allowing its reliable reconstruction Considering the preserved total length the number of holes and the existence of partially preserved blowing edge on proximal end simple and reliable reconstruction of the find as a musical instrument was made The reconstruction is based on the finding that the femur was first an artefact from which a carnivore had subsequently when the object was lost or discarded gnawed off now missing parts The Neanderthal musical instrument from Divje babe I meets all the requirements to be called the oldest known musical instrument These are clear archaeological and stratigraphic context dating explanation of manufacture musical verification and good comparisons in later periods This find is currently the strongest material evidence of Neanderthal musical behaviour It is at least 10 000 years older than the earliest Aurignacian wind instruments discovered in the German caves Hohle Fels Geissenklosterle and Vogelherd 16 17 The Neanderthal musical instrument is on display at the National Museum of Slovenia in Ljubljana Description of the Neanderthal flute Edit Divje Babe flute holes The bone of which Neanderthal flute is made is a 11 4 cm long left diaphysis of femur that belonged to a one to two year old cave bear cub On the posterior side there are two complete holes Holes 2 and 3 of the flute in the central diaphysis Notch 1 Hole 1 of the flute is located near the proximal end The larger semicircular notch Notch 4 of the flute is located at the distal end On the anterior side another semicircular notch 5 Hole 5 of the flute is located near at the distal end This notch is equivalently positioned longitudinally as is Hole 3 on the posterior side Holes 2 and 3 are approximately the same size Notches 1 and 5 are both the same size but smaller than Holes 2 and 3 All the holes and notches are arranged in a line and have a similar morphology except for the larger notch 4 18 19 20 Proximally and distally to Hole 3 a portion of the cortical bone is abraded On this spot a longitudinal fibrous bone structure is exposed Near the proximal edge of Hole 3 there are two parallel micro scores on the abraded surface of the cortical bone corresponding to the cut marks of stone tools 21 22 23 24 Abraded cortical bone and two parallel micro scores indicate artificial modification of the cortical bone before Hole 3 was made By thinning the cortical bone where it is the thickest Neanderthals facilitated perforation of the femur Inside the medullary cavity from which the spongy bone was removed the cortical bone is broken off at the edge of Hole 1 2 3 and 5 25 A funnel shaped fracture of the inner edge of these holes is a typical damage occurring during piercing the cortical bone The presence of this fracture proves that there were originally 4 holes on the femur Notch 4 cannot be said to have the same origin as the other holes and notches because Notch 4 does not have a funnel shaped fracture inside the medullary cavity On the posterior side of the bone a V shaped fracture is present on the proximal end reaching the nearest Notch 1 A similar fracture is present on the anterior side of the distal end reaching Notch 5 The V fracture is a typical carnivore damage that occurred after the flute was no longer in use On the proximal end part of the straight sharp edge bevelled on both sides the mouthpiece of the flute is preserved 26 which is abruptly interrupted by a V shaped fracture on the anterior side Context and dating of the Neanderthal flute Edit The Neanderthal flute was found in the Mousterian level which contained lithic artefacts and hearths The flute was cemented into the phosphate breccia in close proximity to the hearth 27 28 Between the Mousterian level containing the flute and the Aurignacian level containing stone artefacts and osseous points of anatomically modern humans lay about 2 m of sediment Based on the average AMS 14C age of the charcoal found in the hearth the age of the flute was initially estimated at 43 100 700 years BP 29 Later dating using the more powerful ESR method has shown that the layer containing the flute is outside the dating range of the AMS 14C method and that the original dating of samples from this layer was incorrect According to ESR dating the age of the flute is now estimated at 50 000 to 60 000 years BP 30 31 Origin of the holes human or carnivore Edit Since the discovery the key question has been whether the holes were made by a human or a carnivore that is whether the object is an artifact or simply naturally altered bone Upper Palaeolithic flutes made from the limb bones of mammals show clear traces of artificial creation of holes which were carved or drilled with stone tools In flutes made from thin delicate bird bones the holes were made by grinding the bone cortex 32 The edge of the holes on the Neanderthal flute differs from those on Upper Palaeolithic flutes and shows no conventional signs of human manufacture i e cut marks In addition both ends of the Neanderthal flute show damage typical of gnawing by carnivores 33 The excavation leader Ivan Turk suggested two possible explanations shortly after the discovery An artefact or a gnawed bone pierced with teeth 34 According to the first explanation this find would be the oldest musical instrument indisputably attributed to Neanderthals The explanation that the find is a bone gnawed and pierced by a carnivore has been unhesitatingly accepted by some scientists 35 36 37 38 39 Their investigations of the find were distinctively one sided and with a one exception 40 contained no experiments A critical review of their reasoning was presented by Ivan Turk et al 41 42 43 To clarify the origin of the holes Ivan Turk and his colleagues experimentally investigated whether the holes might have been made by carnivores or human Experimental testing of the carnivore origin of the holes Edit Besides prevailing cave bears rare large carnivores could hypothetically have made holes in the bones at Divje babe I These are brown bear cave lion leopard and wolf which together comprise less than 0 1 of all large mammal remains excavated at Divje babe I 44 No cave hyena skeletal remains digested bones or coprolites were found to prove its presence at this site To test the hypothesis that carnivores caused the holes in the bone metal dental casts of cave bear wolf and hyena which was the main cause of damage to the bones in the caves where it was present dentition were made The casts were used to pierce juvenile and adult fresh brown bear femurs 45 Experimental piercing showed that the two complete holes are comparable in shape and size only to those caused by the canine teeth of a bear As for the bear bite however their orientation is problematic Namely the canines of bears have an oval cross section in the labial lingual direction Since the two complete holes in the Neanderthal flute are slightly oval in the direction of the longitudinal axis of the femur the bear would have to align the bone in its snout longitudinally with its jaw when biting into it It would have to do this for every hole individually which is highly unlikely Furthermore holes pierced with canine teeth have smooth edge whereas the edge of the holes on the Neanderthal flute is irregular and serrated The results of experimental piercing have revealed that holes on the flute could not have been produced by a carnivore It is practically impossible for a carnivore to make two or more holes on the thickest and the rigid central part of the juvenile femur without breaking it Moreover it is very difficult for a carnivore that would bite the bone with canine teeth to get all the holes in a straight line in several successive bites especially when the bone is fresh and greasy 46 Experimental testing of the artificial origin of the holes Edit Pointed stone tools appropriate for piercing bone were found in several Mousterian levels at Divje babe I 47 There are broken tips fractures and macroscopic damage presented on some pointed stone tools It was proved experimentally that the same type of damage occurs if one hits the stone tool with a wooden hammer when chiselling and piercing the bone 48 49 50 In addition several ad hoc bone punches were found in Mousterian levels 51 52 The answer to the question of how Neanderthals could make comparable holes in bones was provided by experimental archaeology The first step in this direction was made by the experimental archaeologist Giuliano Bastiani 53 54 Using replicas of pointed stone tools Bastiani pierced the bone in a way previously unknown to archaeologists He used the pointed stone tool simultaneously as a chisel and a punch and succeeded in making holes in the fresh femur similar to those on the flute i e holes with irregular serrated edge The most important conclusion of his experiment was that the edge of the holes made in this way did not always show the characteristic cut marks left by a stone tool However the holes made by Bastiani did not have such pronounced funnel shaped fractures around the inner edge as found on the holes of the flute The holes which in this respect also correspond to those of the flute were made by the archaeologist Francois Zoltan Horusitzky 55 56 Using a pointed stone tool Horusitzky first made a shallow pit in a fresh bone without piercing it He then inserted a bone punch into the pit and struck it with a wooden hammer to pierce the bone cortex creating a hole that exactly matched that of the flute The holes made with this technique have a pronounced funnel shaped fracture around the inner edge and show no conventional tool marks Computed tomography analysis Edit Divje Babe flute Computed micro tomography confirmed that there are scores on the surface of the Neanderthal flute that could have been made by stone tools Some of the damage on the bone interpreted by some scientists as teeth marks turned out to be the result of chemical weathering 57 58 It was confirmed that a crack on the posterior side of the femur which zigzags longitudinally from one end to another is superficial and thus not related to piercing 59 60 61 Such cracks often occur on limb bones during fossilization Given its course the crack on the flute is significantly different from continuous rectilinear in depth cracks that occurred during experimental piercing when compressing fresh young bear femurs with metal casts of carnivore dentition 62 Criticism and rejection after the excavation Edit Whether the artifact is actually a flute created by Neanderthals was a subject of a long debate A critical issue at the time of excavation was uncertainty about whether the holes in the flute are of artificial origin Slovenian archeologist Mitja Brodar argued in 2008 that the flute was made by Cro Magnons as an element of Central European Aurignacian culture 15 Others suggest it was altered by animals 63 64 65 66 Claus Stephan Holdermann Jordi Serangeli Philip G Chase April Nowell and French based Italian taphonomist Francesco D Errico have all supported a carnivore origin 67 Hole spacing alignment and shape Edit The probability that four randomly placed holes would appear in line in a recognizable musical scale is very low according to a 2000 analysis made by Canadian musicologist Bob Fink 68 Responding to the D Errico carnivore origin hypothesis Turk pointed out that the features common between the carnivore origin artifact and other chewed bones studied by D Errico see Hole shape below do not include the alignment of the holes There is also no evidence that the two holes could have been bitten at the same time The tooth spans were analyzed by all taphonomists concerned to see if any animals could bite two or more such holes at once No match could be found to any known animals If a match had been found it could have been cited as prima facie evidence that the holes were animal made This was noted by Turk in his book and was also noted from the opposing hypothesis holders Nowell and Chase in their article in the August October 1998 issue of Current Anthropology Nowell wrote that holes in the specimen were almost certainly made sequentially rather than simultaneously and that the distance between them has nothing to do with the distance between any two teeth in a wolf s jaw 69 Iain Morley despite holding the carnivore origin hypothesis observed in his November 2006 article that w hilst the collections of cave bear bones examined by D Errico as well as those discussed by Turk do show similar shaped and damaged holes none of these occur in the diaphysis of a femur as is found on the reputed flute 70 Marcel Otte director of the Museum of Prehistory University of Liege Belgium pointed out in an April 2000 article in Current Anthropology that there is a possible thumb hole on the opposite side of the Divje Babe bone which making five holes would perfectly fit a human hand Turk wrote in the MIT Press book The Origins of Music If this probability of having lined up holes looking like a flute were greater and of course it isn t it is likely that there would have been more such finds since carnivores in cave dens were at least as active on bones if not more so than people in cave dwellings In 2015 Cajus G Diedrich suggested the holes could be explained by scavenging from spotted hyena 66 D Errico made an analysis of the artifact in comparison to cave bear bone accumulations where no hominid presence was known 63 They published photos of several bones with holes in them which had more or less circular holes similar to those found in the artifact but they did not have a single bone coming even close to the linear alignment of Turk s holes Ignoring the probability of the alignment of the holes D Errico s interpretation was that it was possible for the holes to have been made by an animal and they concluded that of the available options this was the most likely D Errico insisted on ignoring the probability of the alignment of the holes and even after having analyzed the artifact firsthand claimed that the presence of two or possibly three perforations on the suggested flute cannot therefore be considered as evidence of human manufacture as this is a common feature in the studied sample 71 Turk conducted laboratory experiments which pierced holes in fresh bear bones in the manner of carnivore punctures and in every case the bones split Yet in the Divje Babe instance the bone did not break a fact not matching expectations of carnivore action as Turk s results showed Turk wrote in his book and in his article in MIT s Origins of Music anthology the bone shows no counter bites that one would normally expect on the other side of the bone matching the immense pressure necessary for a bite to make the center holes Turk s 1997 book reported that the holes have similar diameters which would accommodate fingertips and all are circular instead of oval as carnivore bites often are Furthermore all are in the proper ratio of bore size to hole size found in most flutes and the bone is the kind femur usually used for bone flutes An examination of the specimen using computed tomography was published in 2005 by Ivan Turk in which he concluded that the two partially preserved holes were formerly created before the damage or before the indisputable intervention of a carnivore The National Museum of Slovenia argues that this evidence has finally refuted hypotheses that the bone was perforated because of a bear bite The manufacture by Neanderthals is reliably proven and its significance in the understanding of their capabilities and the development of music and speech is secure 11 Bone marrow Edit The issue of how much bone marrow remains in the artifact is important because the making of flutes from bone usually includes removing the marrow Turk et al in the volume Mousterian Bone Flute p 160 wrote that the marrow cavity is basically cleaned of spongiose The colour of the marrow cavity does not differ from the colour of the external surface of the bone So we may conclude that the marrow cavity was already open at the time Otherwise it would be a darker colour than the surface of the bone as we know from coloured marrow cavities of whole limb bones April Nowell stated in an interview that at Turk s invitation Nowell and Chase went to Slovenia last year They came away even more skeptical that the bear bone had ever emitted music For one thing both ends had clearly been gnawed away by something perhaps a wolf seeking greasy marrow The holes could have simply been perforated in the process by pointed canine or carnassial teeth and their roundness could be due to natural damage after the bone was abandoned The presence of marrow suggests that no one had bothered to hollow out the bone as if to create an end blown flute Says Nowell Turk s willing to give it the benefit of the doubt whereas we re not 72 Diatonic scale Edit Illustration of the diatonic flute by Bob Fink Collection of Tidldibab instruments wooden replicas of the Divje Babe flute made by Ljuben Dimkaroski Bob Fink claimed in his essay 73 in 1997 that the bone s holes were consistent with four notes of the diatonic scale do re mi fa based on the spacing of those four holes The spacing of the holes on a modern diatonic minor scale flute are unique and not evenly spaced In essence Fink said they are like a simple fingerprint The Divje Babe bone s holes matched those spacings very closely to a series of note holes in a minor scale Nowell and Chase wrote in Studies In Music Archaeology III that the juvenile bear bone was too short to play those four holes in tune to any diatonic series of tones and half tones 72 Fink had suggested there may have originally been a mouthpiece extension added to the bone before it was broken Nowell along with archeologist Philip Chase had serious doubts as soon as they saw photos of the bone on the Internet The Divje Babe bone bears some resemblance to the dozens of younger uncontested bone flutes from European Upper Paleolithic UP sites But says Nowell these obvious flutes are longer have more holes and exhibit telltale tool marks left from their manufacture No such marks occur on the bear bone Fink proposed that the spacing of the flute s holes matches music s standard diatonic scale Nowell and Chase teamed with a more musically inclined colleague to show that the bear bone would need to be twice its natural total length to conform to a diatonic scale 72 In a 2011 article Matija Turk published the results of a collaboration with Ljuben Dimkaroski an academic musician who had made replicas of the artifact The authors argue that the instrument encompassed a range of two and a half octaves which can be extended to three octaves by overblowing 74 Dimkaroski created over 100 wooden and bone replicas of the flute and experimented with them The replicas were made from femurs of juvenile brown bears provided by the Hunters Association of Slovenia but also calf goat pig roe and red deer bones In the end he concentrated on playing a replica made on a femur of a juvenile cave bear from Divje Babe I Cave to come as close as possible to the dimensions of the original Musical verification Edit Tidldibab replica of the flute source source source source source source source source source source source source source source Ljuben Dimkaroski playing scales on Tidldibab replica of the Divje Babe flute An additional argument for the thesis that the pierced femur from Divje babe I is an intentionally made musical instrument comes from experimental musical research on a reconstructed instrument In its preserved state the find is not suitable for playing music as are none of the other discovered Upper Palaeolithic wind instruments traditionally called flutes or pipes 75 The Neanderthal flute has been studied by several musical researchers 76 77 78 79 80 81 82 In 2014 professional musician Ljuben Dimkaroski studied the flute experimentally independently of previous research 83 84 Dimkaroski who played on a reconstructed replica oriented the instrument differently than the others and used the proximal part of the femur as a mouthpiece On the anterior proximal part a straight cut sharpened edge is preserved which was not considered by previous researchers This artificially modified edge may actually be a remnant of the blowing edge of the mouthpiece With this orientation of the instrument the role of Hole 5 the single hole on the anterior side was clarified In the primary orientation the location of this hole was too close to the mouthpiece and thus was dysfunctional Hole 5 now became useful as a palm hole The reconstructed instrument has three finger holes Holes 1 3 on the posterior side and a palm hole Hole 5 on the anterior side of the femur An opening on the distal part is in the function of bell or closure With a finger of the right hand the notch on the posterior distal side may be formed into an additional hole The opening provides the possibility of playing on an open or closed bell which additionally enriches the tonal range The Neanderthal flute is played two handed with Hole 5 being used to extend the air column to twice its length This is a solution not used by modern wind instruments and means that there is no need for doubling the length of the instrument or adding a higher number of holes As such the Neanderthal flute and method of playing on it have no suitable comparison in contemporary musical instruments 85 86 The reconstructed Neanderthal flute has a capability of 3 octaves and all contemporary music genres can be played on it It is possible to perform a series of musical articulations and ornamentations such as legato staccato double and triple tonguing flutter tonguing glissando chromatic scales trills broken chords interval leaps and melodic successions from the lowest to the highest tones 87 Dimkaroski came to conclusion that the four holes their size and the distance between them together with the distal end notch and the blowing edge of the mouthpiece comprise a system that enables a wide variety of sonority and melodic movement and that such a system could not have emerged accidentally but was intentionally created Any change in the system whether changing the length of the instrument adding or removing holes or an absence of sharpened blowing edge evokes poorer musical expression as a consequence Francois Zoltan Horusitzky reached the same conclusions by calculating the instrument s tonality 88 According to Dimkaroski the name flute is not appropriate for such an instrument which could be considered a precursor of modern wind instruments Since the instrument and the way it is played are not comparable to modern wind instruments he named it TIDLDIBAB The name is a composite word made up of the initials of the archaeologist who is credited with the discovery of the instrument Turk Ivan the musician and maker of its replicas Dimkaroski Ljuben and the name of its archaeological find spot Divje Babe 89 See also EditList of Neanderthal sites Neanderthal Musilanguage Prehistoric music Musical scale Diatonic Hohle Fels Gudi 6000 BC Chinese bone fluteReferences Edit Turk I Dirjec J Kavur B 1995 The oldest musical instrument in Europe discovered in Slovenia Razprave 4 Razreda Sazu 36 287 293 Turk I ed 1997 Mousterian Bone Flute and Other Finds from Divje Babe I Cave Site Slovenia Opera Instituti Archaeologici Sloveniae 2 Ljubljana Neanderthal Flute the Flute from Divje Babe Natural History Museum of Slovenia Archived from the original on 3 January 2017 Retrieved 2 January 2017 Omerzel Terlep Mira Koscene piscali pricetek slovenske evropske in svetovne instrumentalne glasbene zgodovine Bone flutes Beginning of the history of the instrumental music in Slovenia Europe and world PDF Etnolog in Slovenian 292 ISSN 0354 0316 Archived PDF from the original on 2013 04 04 d Errico F Villa P Pinto Llona A C P Idarraga R R A 1998 Middle Palaeolithic origin of music Using cave bear bone accumulations to assess the Divje Babe I bone flute Antiquity 72 65 79 Albrecht G Holdermann C S Kerig T Lechterbeck J Serangeli J 1998 Floten aus Barenknochen Die fruhesten Musikinstrumente Archaologisches Korrespondenzblatt 28 1 19 Chase P G Nowell A 1998 Taphonomy of a suggested Middle Paleolithic bone flute from Slovenia Current Anthropology 39 549 553 Morley I 2006 Mousterian musicianship The case of the Divje babe I bone Oxford Journal of Archaeology 25 4 317 333 Turk 2003 Yu 2001 a b The flute from Divje Babe National Museum of Slovenia 2005 Brodar M Stara kamena doba v Sloveniji 2009 p 278 Debeljak Irena Turk Matija Potocka zijalka In Smid Hribar Mateja Torkar Gregor Golez Mateja et al eds Enciklopedija naravne in kulturne dediscine na Slovenskem DEDI in Slovenian Archived from the original on 15 May 2012 Retrieved 12 March 2012 Omerzel Terlep Mira Koscene piscali pricetek slovenske evropske in svetovne instrumentalne glasbene zgodovine PDF Etnolog in Slovenian 292 ISSN 0354 0316 Archived PDF from the original on 2013 04 04 a b Brodar Mitja 26 September 2008 Piscalka iz Divjih bab ni neandertalska The Divje Babe Flute is not Neanderthal in Slovenian Archived from the original on 28 July 2011 Turk M Turk I Dimkaroski L Blackwell B A B Horusitzky F Z Otte M Bastiani G Korat L 2018 The Mousterian musical instrument from the Divje babe I cave Slovenia Arguments on the material evidence for Neanderthal musical behaviour L anthropologie 122 679 706 Turk M Turk I Otte M 2020 The Neanderthal musical instrument from Divje Babe I Cave Slovenia a critical review of the discussion Applied sciences 10 4 1226 1 11 https doi org 10 3390 app10041226 Turk I Pflaum M Pekarovic D 2005 Results of computer tomography of the oldest suspected flute from Divje babe I Slovenia Contribution to the theory of making holes in bones Arheoloski vestnik 56 9 36 Turk I Blackwell B A B Turk J Pflaum M 2006 Resultats de l analyse tomographique informatisee de la plus ancienne flute decouverte a Divje babe I Slovenie et sa position chronologique dans le contexte des changements paleoclimatiques et paleoenvironnementaux au cours du dernier glaciaire L Anthropologie 110 293 317 Tuniz C Bernardini F Turk I Dimkaroski L Mancini L Dreossi D 2012 Did Neanderthals play music X ray computed microtomography of the Divje babe flute Archaeometry 54 3 581 590 Turk I Pflaum M Pekarovic D 2005 Results of computer tomography of the oldest suspected flute from Divje babe I Slovenia Contribution to the theory of making holes in bones Arheoloski vestnik 56 9 36 Turk I Blackwell B A B Turk J Pflaum M 2006 Resultats de l analyse tomographique informatisee de la plus ancienne flute decouverte a Divje babe I Slovenie et sa position chronologique dans le contexte des changements paleoclimatiques et paleoenvironnementaux au cours du dernier glaciaire L Anthropologie 110 293 317 Tuniz C Bernardini F Turk I Dimkaroski L Mancini L Dreossi D 2012 Did Neanderthals play music X ray computed microtomography of the Divje babe flute Archaeometry 54 3 581 590 Turk M Turk I Dimkaroski L Blackwell B A B Horusitzky F Z Otte M Bastiani G Korat L 2018 The Mousterian musical instrument from the Divje babe I cave Slovenia Arguments on the material evidence for Neanderthal musical behaviour L anthropologie 122 679 706 Tuniz C Bernardini F Turk I Dimkaroski L Mancini L Dreossi D 2012 Did Neanderthals play music X ray computed microtomography of the Divje babe flute Archaeometry 54 3 581 590 Dimkaroski L 2014 Musical research into the flute From suspected to contemporary musical instrument In Turk I ed Divje babe I Upper Pleistocene Palaeolithic site in Slovenia Part 2 Archaeology Opera Instituti Archaeologici Sloveniae 29 Ljubljana 215 222 Turk I Kavur B 1997 Review and description of Palaeolithic tools and hearths In Turk I ed Mousterian bone flute and other finds from Divje babe I cave site Slovenia Opera Instituti Archaeologici Sloveniae 2 Ljubljana 119 149 Turk I Dirjec J Turk M 2014 Presentation of fireplaces and hearths with stress on hearthside activities in the central cave area In Turk I ed Divje babe I Upper Pleistocene Palaeolithic site in Slovenia Part 2 Archaeology Opera Instituti Archaeologici Sloveniae 29 Ljubljana 269 319 Nelson D E 1997 Radiocarbon dating of bone and charcoal from Divje babe I cave In Turk I ed Mousterian bone flute and other finds from Divje babe I cave site Slovenia Opera Instituti Archaeologici Sloveniae 2 Ljubljana 51 64 Blackwell B A B Yu E S K Skinner A R Turk I Blickstein J I B Turk J Yin V S W Lau B 2007 ESR Dating at Divje babe I Slovenia In Turk I ed Divje babe I Upper Pleistocene Palaeolithic site in Slovenia Part 1 Geology and Palaeontology Opera Instituti Archaeologici Sloveniae 13 Ljubljana 123 157 Blackwell B A B Yu E S K Skinner A R Turk I Blickstein J I B Skaberne D Turk J Lau B 2009 Dating and paleoenvironmental interpretation of the Late Pleistocene archaeological deposits at Divje Babe I Slovenia In Calbet M and Szmidt C eds The Mediterranean from 50 000 to 25 000 BP Turning Points and New Directions Oxford 179 210 Morley I 2013 The Prehistory of Music Oxford Turk M Turk I Dimkaroski L Blackwell B A B Horusitzky F Z Otte M Bastiani G Korat L 2018 The Mousterian musical instrument from the Divje babe I cave Slovenia Arguments on the material evidence for Neanderthal musical behaviour L anthropologie 122 679 706 Turk I Dirjec J Kavur B 1995 The oldest musical instrument in Europe discovered in Slovenia Razprave 4 Razreda Sazu 36 287 293 d Errico F Villa P Pinto Llona A C P Idarraga R R A 1998 Middle Palaeolithic origin of music Using cave bear bone accumulations to assess the Divje Babe I bone flute Antiquity 72 65 79 Albrecht G Holdermann C S Kerig T Lechterbeck J Serangeli J 1998 Floten aus Barenknochen Die fruhesten Musikinstrumente Archaologisches Korrespondenzblatt 28 1 19 Chase P G Nowell A 1998 Taphonomy of a suggested Middle Paleolithic bone flute from Slovenia Current Anthropology 39 549 553 Morley I 2006 Mousterian musicianship The case of the Divje babe I bone Oxford Journal of Archaeology 25 4 317 333 Diedrich C G 2015 Neanderthal bone flutes simply products of Ice Age spotted hyena scavenging activities on cave bear cubs in European cave bear dens Royal Society Open Science 2 140022 1 16 http dx doi org 10 1098 rsos 140022 Albrecht G Holdermann C S Kerig T Lechterbeck J Serangeli J 1998 Floten aus Barenknochen Die fruhesten Musikinstrumente Archaologisches Korrespondenzblatt 28 1 19 Turk I Dirjec J Turk M 2014 Flute musical instrument 19 years after its discovery Critique of the taphonomic interpretation of the find In Turk I ed Divje babe I Upper Pleistocene Palaeolithic site in Slovenia Part 2 Archaeology Opera Instituti Archaeologici Sloveniae 29 Ljubljana 235 268 Turk I Turk M Toskan B 2016 Could a cave hyena have made a musical instrument A reply to Cajus G Diedrich Arheoloski vestnik 67 401 407 Turk M Turk I Otte M 2020 The Neanderthal musical instrument from Divje Babe I Cave Slovenia a critical review of the discussion Applied sciences 10 4 1226 1 11 1 Toskan B 2007 Remains of large mammals from Divje babe I Stratigraphy taxonomy and biometry In Turk I ed Divje babe I Upper Pleistocene Palaeolithic site in Slovenia Part 1 Geology and Palaeontology Opera Instituti Archaeologici Sloveniae 13 Ljubljana 221 278 Turk I Dirjec J Bastiani G Pflaum M Lauko T Cimerman F Kosel F Grum J Cevc P 2001 New analyses of the flute from Divje babe I Slovenia Arheoloski vestnik 52 25 79 Turk I Dirjec J Bastiani G Pflaum M Lauko T Cimerman F Kosel F Grum J Cevc P 2001 New analyses of the flute from Divje babe I Slovenia Arheoloski vestnik 52 25 79 Turk M 2014 Typology of stone artefacts In Turk I ed Divje babe I Upper Pleistocene Palaeolithic Site in Slovenia Part 2 Archaeology Opera Instituti Archaeologici Sloveniae 29 Ljubljana 153 170 Turk I Dirjec J Bastiani G Pflaum M Lauko T Cimerman F Kosel F Grum J Cevc P 2001 New analyses of the flute from Divje babe I Slovenia Arheoloski vestnik 52 25 79 Bastiani G Dirjec J Turk I 2000 Poskus ugotavljanja namembnosti kamenih artefaktov iz najdisca Divje babe I Slovenija Domneve o uporabi in obrabi nekaterih musterjenskih orodij Attempt to establish the purpose of stone artefacts from the Divje babe I site Slovenia Hypotheses on the use of and wear to some Mousterian tools Summary Arheoloski vestnik 51 13 69 Kunej D Turk I 2000 New perspectives on the beginning of music Archaeological and musicological analysis of a Middle Palaeolithic Bone Flute In Wallin N L Merker B Brown S eds The Origins of Music Cambridge MA London 235 268 Turk I Pflaum M Pekarovic D 2005 Results of computer tomography of the oldest suspected flute from Divje babe I Slovenia Contribution to the theory of making holes in bones Arheoloski vestnik 56 9 36 Turk M Kosir A 2017 Mousterian osseous artefacts The case of Divje babe I Slovenia Quaternary International 450 103 115 Turk I Dirjec J Bastiani G Pflaum M Lauko T Cimerman F Kosel F Grum J Cevc P 2001 New analyses of the flute from Divje babe I Slovenia Arheoloski vestnik 52 25 79 Bastiani G Turk I 1997 Results from the experimental manufacture of a bone flute with stone tools In Turk I ed Mousterian bone flute and other finds from Divje babe I cave site in Slovenia Opera Instituti Archaeologici Sloveniae 2 Ljubljana 176 178 Horusitzky F Z 2003 Les flutes paleolithiques Divje Babe I Istallosko Lokve etc Point de vue des experts et des contestataires Critique de l appreciation archeologique du specimen no 652 de Divje Babe I et arguments pour la defence des specimens Pb 51 20 et Pb 606 de MNM de Budapest Arheoloski vestnik 54 45 66 Turk I Bastiani G Blackwell B A B Horusitzky F Z 2003 Putative Mousterian flute from Divje babe I Slovenia Pseudoartefact or true flute or who made the holes Arheoloski vestnik 54 67 72 Tuniz C Bernardini F Turk I Dimkaroski L Mancini L Dreossi D 2012 Did Neanderthals play music X ray computed microtomography of the Divje babe flute Archaeometry 54 3 581 590 Turk M Turk I Dimkaroski L Blackwell B A B Horusitzky F Z Otte M Bastiani G Korat L 2018 The Mousterian musical instrument from the Divje babe I cave Slovenia Arguments on the material evidence for Neanderthal musical behaviour L anthropologie 122 679 706 Turk I Pflaum M Pekarovic D 2005 Results of computer tomography of the oldest suspected flute from Divje babe I Slovenia Contribution to the theory of making holes in bones Arheoloski vestnik 56 9 36 Turk I Blackwell B A B Turk J Pflaum M 2006 Resultats de l analyse tomographique informatisee de la plus ancienne flute decouverte a Divje babe I Slovenie et sa position chronologique dans le contexte des changements paleoclimatiques et paleoenvironnementaux au cours du dernier glaciaire L Anthropologie 110 293 317 Tuniz C Bernardini F Turk I Dimkaroski L Mancini L Dreossi D 2012 Did Neanderthals play music X ray computed microtomography of the Divje babe flute Archaeometry 54 3 581 590 Turk I Dirjec J Bastiani G Pflaum M Lauko T Cimerman F Kosel F Grum J Cevc P 2001 New analyses of the flute from Divje babe I Slovenia Arheoloski vestnik 52 25 79 a b D Errico 1998 Holderman and Serangeli 1999 Chase and Nowell 1998 2003 a b Diedrich Cajus G 1 April 2015 Neanderthal bone flutes simply products of Ice Age spotted hyena scavenging activities on cave bear cubs in European cave bear dens Open Science 2 4 140022 Bibcode 2015RSOS 240022D doi 10 1098 rsos 140022 PMC 4448875 PMID 26064624 D Errico et al 2003 source reproduced at here Archived May 27 2006 at the Wayback Machine self published source Fink 2000 Chase Philip G Nowell April 1998 Taphonomy of a Suggested Middle Paleolithic Bone Flute from Slovenia Current Anthropology 39 4 549 53 doi 10 1086 204771 S2CID 144800210 Morley 2006 329 Journal of World Pre history pp 36 39 Vol 17 1 March 2003 a b c Edgar 1998 Early Music Science 276 5310 203g 205 1997 doi 10 1126 science 276 5310 203g S2CID 220083771 Turk Matija Dimkaroski Ljuben 2011 Neandertalska piscal iz Divjih bab I stara in nova spoznanja Neanderthal flute from Divje babe I old and new findings PDF In Toskan Borut ed Drobci ledenodobnega okolja Zbornik ob zivljenjskem jubileju Ivana Turka Fragments of Ice Age environments Proceedings in Honour of Ivan Turk s Jubilee Ljubljana Zalozba ZRC ZRC SAZU pp 251 65 ISBN 978 961 254 257 3 Archived PDF from the original on 2015 05 28 Morley I 2013 The Prehistory of Music Oxford Kunej D Turk I 2000 New perspectives on the beginning of music Archaeological and musicological analysis of a Middle Palaeolithic Bone Flute In Wallin N L Merker B Brown S eds The Origins of Music Cambridge MA London 235 268 Kunej D 1997 Acoustic findings on the basis of the reconstruction of a presumed bone flute In Turk I ed Mousterian bone flute and other finds from Divje babe I cave site Slovenia Opera Instituti Archaeologici Sloveniae 2 Ljubljana 185 197 Omerzel Terlep M 1996 Bone flutes The beginning of the history of instrumental music in Slovenia Europe and the world Etnolog 6 LVII 292 294 Omerzel Terlep M 1997 A typology of bone whistles pipes and flutes and presumed palaeolithic wind instruments in Slovenia In Turk I ed Mousterian bone flute and other finds from Divje babe I cave site Slovenia Opera Instituti archaeologici Sloveniae 2 Ljubljana 199 218 Access 9 1 2017 Fink B 1997 Neanderthal flute Oldest musical instrument s 4 notes matches 4 of do re mi scale Musicological analysis Archived from the original on 2007 01 27 Retrieved 2006 01 23 Atema J 2004 Old bone flutes Pan Journal of the British Flute Society 23 18 23 Horusitzky F Z 2014 Analyse acoustique de la flute avec souffle proximal In Turk I ed Divje babe I Upper Pleistocene Palaeolithic site in Slovenia Part 2 Archaeology Opera Instituti Archaeologici Sloveniae 29 Ljubljana 223 233 Dimkaroski L 2014 Musical research into the flute From suspected to contemporary musical instrument In Turk I ed Divje babe I Upper Pleistocene Palaeolithic site in Slovenia Part 2 Archaeology Opera Instituti Archaeologici Sloveniae 29 Ljubljana 215 222 Dimkaroski L 2011 Musikinstrument der Neanderthaler Zur Diskussion um die mousterienzaitliche Knochenflote aus Divje babe I Slowenien aus technischer und musikologischer Sicht Mittelungen der Berliner Gesellschaft fur Anthropologie Ethnologie und Urgeschichte 32 45 54 Dimkaroski L 2014 Musical research into the flute From suspected to contemporary musical instrument In Turk I ed Divje babe I Upper Pleistocene Palaeolithic site in Slovenia Part 2 Archaeology Opera Instituti Archaeologici Sloveniae 29 Ljubljana 215 222 Dimkaroski L 2011 Musikinstrument der Neanderthaler Zur Diskussion um die mousterienzaitliche Knochenflote aus Divje babe I Slowenien aus technischer und musikologischer Sicht Mittelungen der Berliner Gesellschaft fur Anthropologie Ethnologie und Urgeschichte 32 45 54 RTV Slovenia Symphony Orchestra with Bostjan Gombac on Tidldibab performing the Baba concerto by contemporary composer Ziga Stanic Horusitzky F Z 2014 Analyse acoustique de la flute avec souffle proximal In Turk I ed Divje babe I Upper Pleistocene Palaeolithic site in Slovenia Part 2 Archaeology Opera Instituti Archaeologici Sloveniae 29 Ljubljana 223 233 Dimkaroski L 2014 Musical research into the flute From suspected to contemporary musical instrument In Turk I ed Divje babe I Upper Pleistocene Palaeolithic site in Slovenia Part 2 Archaeology Opera Instituti Archaeologici Sloveniae 29 Ljubljana 215 222 Sources EditBrodar Mitja 2009 Stara kamena doba v Sloveniji Altsteinzeit in Slowenien Ljubljana samozalozba Chase Philip G Nowell April 1998 Taphonomy of a Suggested Middle Paleolithic Bone Flute from Slovenia Current Anthropology 39 4 549 53 doi 10 1086 204771 S2CID 144800210 Chase Philip G Nowell April 2002 Ist der Knochen eines Hohlenbaren aus Divje Bebe Slowenien eine Flote des Neandertalers Is a cave bear bone from Divje Babe Slovenia a Neanderthal flute In Hickmann Ellen Kilmer Anne Draffkorn Eichmann Ricardo eds Studies in Music Archaeology III Part I The Archaeology of Sound Origin and Organisation Papers from the 2nd Symposium of the International Study Group on Music Archaeology at Monastery Michaelstein 17 23 September 2000 Rahden Leidorf pp 69 81 ISBN 978 3 89646 640 2 D Errico Francesco Villa Paola Llona Ana C Pinto Idarraga Rosa Ruiz 1998 A Middle Palaeolithic origin of music Using cave bear bone accumulations to assess the Divje Babe I bone flute Antiquity 72 275 65 79 doi 10 1017 S0003598X00086282 S2CID 55161909 D Errico Francesco 2003 Archaeological Evidence for the Emergence of Language Symbolism and Music An Alternative Multidisciplinary Perspective PDF Journal of World Prehistory 17 1 70 doi 10 1023 A 1023980201043 S2CID 14442075 Archived from the original PDF on 2015 09 24 Retrieved 2015 05 27 Edgar Blake 1998 Could Neanderthals Carry a Tune California Wild California Academy of Sciences 51 3 Summer Archived from the original subscription required on 2007 03 12 Retrieved 2007 01 02 Fink Bob 1997 Neanderthal Flute Oldest Musical Instrument s 4 Notes Matches 4 of Do Re Mi Scale Archived from the original on 2007 01 27 Retrieved 2006 01 22 a href Template Cite web html title Template Cite web cite web a CS1 maint multiple names authors list link Fink Bob 2000 Odds calculated against Neanderthal flute being a chance product of animal bites Archived from the original on 2006 05 27 Retrieved 2006 05 27 Fink Bob 2002 3 The Neanderthal flute and origin of the scale fang or flint A response in Ellen Hickmann Anne Draffkorn Kilmer and Ricardo Eichmann Eds Studies in Music Archaeology III Verlag Marie Leidorf GmbH Rahden Westf Germany pp 83 87 Probability analysis Holdermann Claus Stephan Serangeli Jordi 1999 Die Neanderthalerflote von Divje Babe Eine Revolution in der Musikgeschichte Musica Instrumentalis Zeitschrift fur Organologie 2 147 57 Morley Iain October 2003 The Evolutionary Origins and Archaeology of Music PDF PhD Thesis Darwin College Research Reports Cambridge University Archived from the original PDF on 2016 03 04 Retrieved 2015 05 27 Morley Iain 2006 Mousterian musicianship The case of the Divje babe I bone Oxford Journal of Archaeology 25 4 317 333 doi 10 1111 j 1468 0092 2006 00264 x Otte Marcel 2000 On the Suggested Bone Flute from Slovenia Current Anthropology 41 2 271 272 doi 10 1086 300129 PMID 10702145 S2CID 31126981 Turk Ivan ed 1997 Mousterienska Koscena Piscal in druge najdbe iz Divjih Bab I v Sloveniji Mousterian Bone Flute and other finds from Divje babe I Cave site in Slovenia Znanstvenoraziskovalni Center Sazu Ljubljana Slovenia ISBN 978 961 6182 29 4 Turk Ivan 2003 Neanderthal flute Archived from the original on 2015 05 27 Retrieved 2015 05 27 Turk Ivan Miran Pflaum and Dean Pekarovic 2005 Rezultati racunalniske tomografije najstarejse domnevne piscali iz Divjih bab I Slovenija prispevek k teoriji luknjanja kosti Results of Computer Tomography of the Oldest Suspected Flute from Divje Babe I Slovenia Contribution to the Theory of Making Holes in Bones English amp Slovenian Arheoloski vestnik Acta archaeologica Ljubljana Slovenska Akademija Znanosti in Umetnosti Sekcija za arheologijo 56 9 36 2005 version contains tomography slice photos amp analysis Turk Matija and Dimkaroski Ljuben 2011 Neandertalska piscal iz Divjih bab I stara in nova spoznanja Neanderthal Flute from Divje babe I Old and New Findings English amp Slovenian Opera Instituti Archaeologici Sloveniae Zalozba ZRC SAZU Ljubljana 21 251 265 Turk I Blackwell B Turk J Pflaum M 2006 Resultats de l analyse tomographique informatisee de la plus ancienne flute decouverte a Divje babe I Slovenie et sa position chronologique dans le contexte des changements paleoclimatiques et paleoenvironnementaux au cours du dernier glaciaire L Anthropologie 110 3 293 317 doi 10 1016 j anthro 2006 06 002 Wallin Nils Bjorn Merker and Steven Brown eds 2000 The Origins of Music Proceedings of the First Florentine Workshop in Biomusicology Fiesole 1997 Cambridge Mass MIT Press ISBN 0 262 23206 5 Yu Edwin S K Bonnie A B Blackwell Ivan Turk Joel I B Blickstein Anne R Skinner Mimi N Divjak 2001 ESR Dating Human Cultural Evolution and Climatic Change During the Late Pleistocene at Divje Babe I Slovenia Poster session paper abstract Boulder CO Geological Society of America Archived from the original on 2006 10 18 Retrieved 2006 12 29 Further reading Edit Wikimedia Commons has media related to Divje Babe Flute John H Lienhard 1997 Very Early Music The Engines of Our Ingenuity Episode 1232 NPR KUHF FM Houston Bower B 1998 Doubts Aired over Neandertal Bone Flute Science News 153 14 215 doi 10 2307 4010441 JSTOR 4010441 Fink Bob 1997 Neanderthal Flute Greenwich ISBN 978 0 912424 12 5 2 Fink Bob 2003 Who made Neanderthal Flute Humans or carnivores Summary of Turk s evidence Archived from the original on March 15 2019 Retrieved March 1 2003 Lau Beverly Blackwell Bonnie A B Schwarcz Henry P Turk Ivan Blickstein Joel I 1997 Dating a flautist Using ESR electron spin resonance in the Mousterian cave deposits at Divje Babe I Slovenia Geoarchaeology 12 6 507 36 doi 10 1002 SICI 1520 6548 199709 12 6 lt 507 AID GEA2 gt 3 0 CO 2 2 Dating a Flautist Using ESR Electron Spin Resonance in the Mousterian Cave Deposits at Divje Babe I Slovenia Archived from the original on 2005 09 02 Retrieved 2006 01 22 Diedrich Cajus G 2015 Neanderthal bone flutes simply products of Ice Age spotted hyena scavenging activities on cave bear cubs in European cave bear dens Royal Society Open Science 2 4 140022 Bibcode 2015RSOS 240022D doi 10 1098 rsos 140022 PMC 4448875 PMID 26064624 Retrieved 2015 07 12 External links EditKovac Tinkara Matoz Zdenko 25 August 2017 Tinkara Kovac Divja baba in tidldibab intervju Tinkara Kovac The Wild Woman Divja baba and Tildibab interview Delo si in Slovenian Retrieved from https en wikipedia org w index php title Divje Babe flute amp oldid 1152593719, wikipedia, wiki, book, books, library,

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