It turns out that sound objects should not be seen only as a source of sound, but much more as a complex phenomena (aesthetics). They are part of a culture as objects that were not used only practically, but were directly involved in complementing the auditory component of that culture.
In addition to this principled opinion, reception aesthetics of music is even methodologically based on the neuropsychology of music.
In this aspect, the human being – a member of a certain culture – perceives sound and music as if it were culturally conditioned.
A human being does not perceive all the resounding sounds in all their complexity and multiplicity. On the contrary, it is at the very lowest level of perception already (pre- conscious level of perception). All acoustic information are reduced to some kind of schemata, perceptual patterns. They are pre-structured by the central nervous system before they reach the level of conscious perception of sound.
The principle of so-called perception patterns is therefore not a measure of how many sounds of the auditory environment can be heard by members of a certain culture. But, and that is even more important, what significance is ascribed to the sounds they really hear.
In addition to this intern conditions, it is also necessary to consider the calculated use of external conditions of sound, which may vary in the time significantly. The water proximity, forest density, bare plains, various humidity, any modifications of the environment significantly alter the physical quality of sounds, and therefore their meaning, too. Awareness of these intern and external conditions has necessary consequences for an adequate and competent archaeomusicological interpretation of findings. This is because the cultivation of sound meaning precedes the development of musical activities. It is a specific way of shaping of an auditory environment, which makes possible the improvements in developing of sound producing objects and, also musical instruments.
1 BRADLEY 2009.
2 Layton, 1991, Bradley 2009, Murphy and Perkins, 2005.