Gone languages, returned to ears rejoicing; Darmok and Jalad at Tenagra!

Why not do a little sound tourism; Europe is a veritable cacophony of places to hear.

Acoustic archaeology is a growing field making waves that people are starting to hear…
Cue Credit Sequence:

at stonehenge, temples at the ancient Maya city of Palenque (map) in central Mexico

The Epic of Gilgamesh, Old Babylonian Version, BM+VAT
Lines ii.0′-iii.14, read by Martin West
(Darmok and Jalad at Tenagra!)
http://www.hps.cam.ac.uk/whipple/explore/acoustics/ernstchladni/chladniplates/
Chladni plates: the first step towards visualizing sound

The Chavín de Huántar Archaeological Acoustics Project

https://ccrma.stanford.edu/groups
To listeners educated in Western classical tradition one of the most striking features of gagaku music is its foremost emphasis on timbre.

The Center for Computer Research in Music and Acoustics (CCRMA) at Stanford recently received a donation of an extensive collection of pre-1920 audio recordings and equipment. The collection provides an astonishing audio portrait of the United States one hundred years ago.

Acoustic archaeology is a growing field, on display at stonehenge, temples at the ancient Maya city of Palenque (map) in central Mexico, at a Mayan pyramid (previously), and at The Chavín de Huántar Archaeological Acoustics Project

Gone languages, returned to ears rejoicing.
The Epic of GilgameshOld Babylonian Version,
Lines ii.0′-iii.14, read by Martin West
(Darmok and Jalad at Tenagra!)

To listeners educated in Western classical tradition one of the most striking features of gagaku music is its foremost emphasis on timbre.

Chladni plates: the first step towards visualizing sound
Acoustic Engineer Trevor Cox takes us on a two-part journey into the world of acoustics research, starting with the sounds we love to hate. 12; and the related BBC Programme and special report; Save our Sounds. Asking what it means to be an endangered sound.

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