Presentation at TAG, Chester December 2018:

Proposal for the session ‘In the Mix’: Recalibrating Music, Heritage and Place.

SOUNDmound dot org: Experimental music as archaeological theory and practice, by F. Gill.

Abstract: I present a model where archaeology, music (subsuming sound and acoustics) and heritage–as non-teleological, plastic, sketching processes–situate action for creating culture which may include writing historical narratives, social cohesion and education. This experimental phenomenology explores Colin Renfrew’s parallel vision of artists and archaeologists from the audio perspective. Is it a trans-disciplinary space which becomes schizophrenic unless perhaps, visions (or hearings) are recalibrated to counter reception of the rituals? Upper Palaeolithic ‘flutes’ from Germany and an Iron Age massacre at a ring fort in Sweden provide a comparative study as they evolve in practice. The party mix will include offerings of sound from flute reconstructions, an extract from a string quartet, and at least one sound sculpture from the SOUNDmound featuring Bodil Petersson (mouth clicks), Paloma González Marcén (voice) and Cornelius Holtorf (leafy branch on wet rain jacket).

Article in a forthcoming book:

Ears to the Ground: On Cajsa Lund’s Legacy and Moving Movements, by F. Gill. In: The Archaeology of Sound, Acoustics and Music: Studies in Honour of Cajsa S. Lund, edited Gjermund Kolltveit and Ritta Raino.

Forthcoming doctoral thesis:

Flute Origins by F. Gill, Tübingen University.

Forthcoming publication of sheet music:

Vykort från Sandby borg, a string quartet by F. Gill (sheet music), first performed by Long Island String Quartet Festival on 13th June 2018 at Resmo church. Daniel Bard - violin, Claudia Ajmone - violin, Pål Solbakk - viola, Per Nyström - cello.

Forthcoming publication of CDs under the label Frantastic records:

1. SOUNDmound at Sandby borg
2. Vykort from Sandby borg

Mother Flute

This is the website for Frances Gill's sound and music.