Archaeological

Small Finds
and

Their Significance
 Archaeological
Small Finds
and
Their Significance
Proceedings of the Symposium on
Games and Toys

Editors:
Oana Tutilă
Nicolae Cătălin Rişcuţa
Iosif Vasile Ferencz

Editura Mega | Cluj-Napoca | 2017

 Editors:
Oana Tutilă, Nicolae Cătălin Rişcuţa, Iosif Vasile Ferencz

Layout:
Oana Tutilă

Cover design:
Oana Tutilă, Nicolae Cătălin Rişcuţa

(Front cover: Bar dice made of bone and antler from Stradonice,
photo M. Karwowski, collections Museum of Natural History in
Vienna.
Back cover: Ceramic counters from Ardeu Cetăţuie, photo
I. 
V. 
Ferencz, collections Museum of Dacian and Roman
Civilisation, Deva)

The authors are responsible for the contents and the translations

Descrierea CIP a Bibliotecii Naţionale a României

Archaeological small finds and their significance : proceedings of the symposium on games
and toys / ed.: Oana Tutilă, Nicolae Cătălin Rişcuţa, Iosif Vasile Ferencz. - Cluj-Napoca:
Mega, 2017
Conţine bibliografie
ISBN 978-606-543-796-8

I. Tutilă, Oana (ed.)

II. Rişcuţa, Nicolae Cătălin (ed.)
III. Ferencz, Iosif Vasile (ed.)

39

DTP:
Francisc Baja

e-mail: mega@edituramega.ro
www.edituramega.ro
 Contents

Selena Vitezović
Musical Instruments in the Central Balkan Neolithic 7

Adrian Adamescu, Dănuţ Prisecaru, Oana Gheorghe

Child in Time. Reconsideration of Some Small Finds Discovered in the Prehistoric
Settlements from Galaţi County 17

Maciej Karwowski
Dice from the Celtic Oppidum of Stradonice in the Collection of the Museum of Natural
History in Vienna 25

Aurel Rustoiu
Miniature Objects: Context and Functionality. The Miniature Vessels from the Late Iron
Age Settlement at Sighişoara – Wietenberg Revisited 43

Iosif Vasile Ferencz, Cristian Constantin Roman, Mihai Cristian Căstăian

Craftsman and Gambler. Gaming Accessories Coming from a Dacian Workshop 59

Mariana Egri
A Miniature Ceramic Chariot from the Liber Pater Sanctuary at Apulum
(Alba Iulia, Romania) 73

Dorel Bondoc, Gabriela Filip

Ceramic Toys with Oriental Renderings from Roman Settlements on the Olt Valley 83

Alexandru Gh. Sonoc, Adrian Luca

Three Gambling Tokens with Chinese Inscriptions from the Collection of the Brukenthal
National Museum and Their Cultural and Historical Significance 95

Abbreviations 129
 Musical Instruments in the Central Balkan Neolithic

Selena Vitezović
Institute of Archaeology, Belgrade, SERBIA
selenavitezovic@gmail.com

Keywords: Neolithic, Central Balkans, Starčevo culture,
Vinča culture, bone musical instruments, ceramic rattles
Abstract: Music is one of the earliest arts, and its origins
are very important for the understanding of the human
evolution. Musical behaviour is universal for all past and
present communities, and is related to many ritual and leisure
activities. The earliest musical instruments are discovered in
the Early Upper Palaeolithic, and include mainly whistles
and flutes. However, identification of sound-producing
instruments in prehistory is a very difficult task, due to various
reasons – one is poor preservation, but also the available data
are often ambiguous.
In this paper an attempt will be made to identify all
possible sound-producing instruments discovered so far in
the Neolithic in the central Balkan area, to clasify them, and
finally to offer hypotheses on their significance and possible
use. Artefacts include several possible bone flutes and also
several rattles and they may have been used as toys as well as
on festivals and in ritual activities.

INTRODUCTION
Musical behaviours are universal across human populations; at the same time, they display
high diversity in their structures, roles and cultural interpretations1. Music is connected with diverse
social activities, of both ritual and leisure character. The origins of music are closely connected to the
human evolution and at the same time the music represents one of the oldest arts. A very long history
of musical activities is suggested by their existence in all known human societies2. Unfortunately,
archaeological record is a silent one, and this makes reconstructing sound experience in prehistory a
tantalizing task. The archaeological evidence for musical activities is in the form of preserved instru-
ments for most of the past communities, rarely in graphic representations, but, as S. Trehub, J. Becker
and I. Morley noted, “In many musical traditions, however, musical behaviours are not synonymous with instru-
mentation, and much instrumentation would not preserve archaeologically”3.
Furthermore, the remains of the musical instruments are very few and often ambiguous.
Interpretative problems are multiple – some remains present modifications whose origin, anthropic
or post-depositional is uncertain, some remains interpreted as sound instruments could have had
other functions, etc.
Possible musical instruments could be divided into several categories, depending on the cer-
tainty of the sound function. One division is into three categories4: 1) musical instruments, whose
anthropic making is certain, sound function is certain and so is the use within musical framework;
2) sound instruments, whose anthropic making is certain, sound function is certain, but social role
1
TREHUB ET AL 2015, p. 1 ff.
2
See MORLEY 2003; MORLEY 2013.
3
TREHUB ET AL 2015, p. 3.
4
COUMONT 2003.

Archaeological Small Finds and Their Significance, 2017 / p. 7–15

8 / Selena Vitezović

is unknown; and 3) possible sound instruments are those of certain anthropic making, but uncertain
sound function. Artefacts interpreted as musical or sound instruments are very few in number and
they represent only a small portion of what once existed – probably there were many sound instru-
ments from perishable materials.
More elaborated is the division into five categories5: 1) artefacts which clearly are sound-pro-
ducing devices; 2) artefacts with a strong possibility of having been used as sound-producing devices;
3) artefacts which are probably – judging by examples from ethnographic analogies – made to serve
a double purpose, among which would have been sound production; 4) artefacts which were prob-
ably not made for the purpose of sound production, but which, as a result of their design, can gener-
ate sound at the same time as they carry out their primary function, and thus could have had sound
production as their secondary function (the last two categories include some decorative object, for
example necklaces of shells); and finally 5) artefacts with unknown function, but which can generate
sound and this may have been one of their functions.

MUSICAL INSTRUMENTS IN THE PREHISTORY OF EUROPE

Palaeolithic period
The origins of music and its presence in the Middle Palaeolithic are still under discussion; there
are several controversial objects dating to Mousterian6, interesting because of the implications for
cognitive capacities in Mousterian. It is beyond doubt, however, that the earliest populations of mod-
ern humans (Homo sapiens) in Europe, more than 40,000 years ago, were engaged in musical activi-
ties7. The earliest incontrovertible examples of flutes are those found at the site of Geissenklösterle
in Germany, dated by radiocarbon to circa 37,000 BP8. Also in Germany, pipes or flutes were dis-
covered at Hohle Fels and Vogelherd. These are made from swan bone, vulture bone and mammoth
ivory9. Other Upper Palaeolithic finds are very various, and perhaps the richest collection comes from
Isturitz10.
Palaeolithic objects that may be musical instruments include those thought to be flutes or pipe,
and second are pierced phalanges, often interpreted as “phalangeal whistles”11. Flutes and whistles
belong to the group of aerophones. They consist of hollow bone, which may or may not be perforated
along their length. A pipe with no perforations would produce a single tone, and each perforation
made in the tube would allow an additional tone to be made by covering or uncovering the holes.
Phalangeal whistles were made of a single pierced phalanx, usually punctured with only one hole.
Blowing across the top of this hole would produce a high-pitched sound due to the small internal
volume of the phalanx, leading to them being interpreted as signalling devices12.
The third type is objects interpreted as bullroarers. This instrument consists of a flat perforated
piece of wood or bone on the end of a cord, which creates a whirring sound when spun in a circular
motion, and is used in a number of non-western cultures today, in both spiritual and functional con-
texts. For example, amongst some Australian aborigines it is used to imitate the spirits occurring in
the natural sounds of nature, and Malayans use it to scare animals away from the plantations13. In
addition, there are bone artefacts notched with parallel grooves, which may be scraped idiophones
(rasps). A rasp can be a piece of wood, bone or stone with grooves cut into it parallel to its length,
5
LUND 1981.
6
e. g. D’ERRICO ET AL 1998; CHASE, NOWELL 1998; ALBRECHT ET AL 2001; TURK ET AL 2001.
7
TREHUB ET AL 2015, p. 3.
8
HAHN, MÜNZEL 1995.
9
CONRAD ET AL 2009; see also TREHUB ET AL 2015, p. 3, with references therein.
10
BUISSON 1990; see also the list with references in COUMONT 2003.
11
MORLEY 2005, p. 213; COUMONT 2003, p. 88.
12
DAUVOIS 1994; MORLEY 2005, p. 213.
13
MORLEY 2005, p. 213–214.
 Musical Instruments in the Central Balkan Neolithic / 9

then rubbed with another object to create staccato vibration. The best preserved example comes from
Pekarna (Moravia), also one was found at Mas d’Azil, etc.14.
Finally, some authors have suggested that caves themselves, and features of caves, were used as
sounding devices15.

Mesolithic and Neolithic periods

The evidence for Palaeolithic is scarce, but important for understanding the origins of music
and its development. The Mesolithic and the Neolithic periods received less attention in archaeo-
logical literature16. It may be due to poorer preservation of musical instruments, but perhaps some of
them remained unnoticed in archaeological record. These periods are very important for interpreta-
tion of development in music, since they stand between first instruments from Palaeolithic times and
already elaborated instruments in later prehistory17.
The artefacts interpreted as musical instruments or sound producers from the Mesolithic period
are very few, and only three types are known – flutes, phalangeal whistles and bullroarers. Flutes are
the most numerous of all, comprising a total number of 15 specimens18.
The number of music/sound producing objects from Neolithic in Western Europe is also rather
limited. Two flutes are known from France, one made of ovicaprid femur and one made of human
bone19. Several fine bone tubes from Cova de l’Or in Spain were interpreted as musical instruments
of the type of Pan’s flute20.

MUSIC AND SOUND PRODUCING INSTRUMENTS

FROM CENTRAL BALKANS NEOLITHIC
Several objects found in Starčevo (Early and Middle Neolithic) and Vinča culture (Late Neolithic)
sites could be interpreted as music or sound producing instruments. They fall into three categories –
flutes or whistles, idiophones and rattles.

Flutes and whistles

Several objects made of bone were interpreted as flutes or whistles, coming from both Starčevo
and Vinča cultures.
Three simple bone tubes come from Starčevo layers in two sites in central Serbia. Two were found
in Starčevo layers at the site of Divostin21 (near modern town of Kragujevac, Central Serbia). First one
(dim. 8.5 × 1.5 cm) is made from diaphysis of a smaller long bone, perhaps ovicaprid tibia, care-
fully cut on both ends and polished, and the other from some smaller bone, probably small mammal
bone, carefully cut at one end and with smoothed surface (Fig. 1). The other end is not preserved and
small holes visible on the object are note intentionally made, but depositional in origin. Its preserved
dimensions are length 11 cm, and width 0.8 cm (Fig. 2).
Similar find, although more carefully made and better preserved, comes from the site of Grivac
(in the vicinity of Divostin) 22. This one was made of small bone (dim. 5.8 × 1.4 cm), probably ovi-
caprid metapodial, carefully cut at both ends and with fine striations of burnishing and polishing on
outer surface. Use wear traces consist of polish only.
14
DAUVOIS 2002; COUMONT 2003, p. 88–89; MORLEY 2005, p. 213–214.
15
DAMS 1984; DAMS1985; REZNIKOFF, DAUVOIS 1988; DAUVOIS 1994; MORLEY 2005.
16
With several notable exceptions, e. g. MORLEY 2005.
17
cf. CLODORÉ-TISSOT 2002a; CLODORÉ-TISSOT 2002b.
18
MORLEY 2005, p. 216–217.
19
MEGAW 1960; COUMONT 2003, p.90.
20
OLIVER ET AL 2001.
21
BAČKALOV 1979; VITEZOVIĆ 2011, p. 340.
22
VITEZOVIĆ 2011.
10 / Selena Vitezović

a b a b

Fig. 1. a, b. Possible bone flute or whistle Fig. 2. a, b. Possible bone flute or

from Divostin, Starčevo culture. whistle from Divostin, Starčevo culture.

These objects may have been whistles, or perhaps parts of a composite musical instrument, such
as pipes as ethnographic record may suggest. Ethnographic comparison also suggests interpretation
of these objects as mouthpieces23. Their interpretation as whistles or pipes, however, is not certain, as
they may have had other functions as well (handles for some very thin artefacts, for example).
The possible bone flute was found in the site of Drenovac (8 km south from the modern town of
Paraćin, Central Serbia), from Vinča culture layers (Fig. 3)24. It was made of a small long bone, possibly
goat/sheep metapodial bone. Its preserved dimensions are length 4 cm, width 1.5–1 cm. The upper
edge was carefully cut and then polished with some fine-grained agent, its traces being visible only with
a magnifying glass. The other edge is broken, but half of the perforation is still preserved. The perforation
was larger than the perforations used for suspension. The whole bone surface was carefully polished,
but not well preserved due to after-excavation manipulations – there are traces of writing the inventory
number and it was probably also covered with some solution for conservation. However, there are no
traces of intensive use and the traces of polish suggest that this was not an object for everyday use, and
its careful working confirm that. Unfortunately, the object is broken, but its original shape was probably
a bone tube with two or perhaps three holes, and it was probably used as musical instrument.
If this was really a fragment of a musical instrument, then it would be a type of aerophone instru-
ment, where the hollow part of a long bone diaphysis was used with additional wholes – two or
three. This type of flutes were discovered in several Palaeolithic, Mesolithic and Neolithic sites across
Europe25. The specimen from Drenovac might have looked like the one found in Isturitz26, the Neolithic
flute from Mährisch–Kromau27 or like the Chalcolithic flute made of bird bone from Aveyron28.

23
LOVRENČEVIĆ 1973.
24
VITEZOVIĆ 2007.
25
cf. COUMONT 2003 and MEGAW 1960.
26
MEGAW 1960, pl. II/7.
27
MEGAW 1960, p. 9, pl. II/8.
28
COUMONT 2003, p. 91 and fig. 2/ 3.
 Musical Instruments in the Central Balkan Neolithic / 11

a b

Fig 3. a, b. Possible bone flute from Drenovac, Vinča culture.

Two tubular sections of bird long bones were found at Selevac, in Central Serbia, and interpreted
as beads or whistles. One is a 4 cm long tube with a spot near one end that is ground flat with sand-
stone. The other is a more fragmentary segment cut from a long bone and highly polished29. Also from
Neolithic period from Balkan area, similar objects are mentioned from the site of Anza in Macedonia,
and they were interpreted as whistles or pipes30.
All these objects were made from small long bones, from smaller animals – bones with thin walls
were preferred. Usually they were carefully cut and sometimes they were polished on outer side. They
may have one or two holes added. If they were not musical instruments, they may have been handles.
Following classification of musical instruments of Marie-Pierre Coumont31 – musical instruments,
sound instruments and probable sound instruments – these finds would fall into last category, i. e., of
objects which have the acoustic capacity but other interpretations are also possible. The interpreta-
tion as musical instruments is supported by the lack of traces of use common for handles (such as
small damaging or worn surfaces). Ethnographic comparison corroborates interpretation of these
instruments as musical (as simple flutes, whistles and mouthpieces). This record also suggests that
there must have been a variety of other aerophone instruments, made from other organic materials,
such as bark, leaves or feathers32.

Idiophones
One object from Starčevo layers at the above-mentioned site, Grivac, may represent idiophone33.
The object has large circular head, fragmented, with perforation at its centre, and massive handle. Its
form resembles the object found at Pekarna, only it does not have grooves on parallel sides. The whole
surface of the object is covered with traces of scraping, burnishing and polishing, and has no traces
29
RUSSELL 1990, p. 535.
30
GIMBUTAS 1976, p. 244.
31
COUMONT 2003.
32
LOVRENČEVIĆ 1973.
33
VITEZOVIĆ 2011.
12 / Selena Vitezović

of being used as a tool, except for the broken upper part. Perhaps this was some sort of percussion
instrument.

Rattles
From Vinča culture is also knows some musical – or sound-producing instruments, made from
pottery. They are completely closed objects but with a cavity inside, in which small pebbles were
placed before firing – so an end product is a sort of a rattle.
Three of such objects were discovered at
Vinča culture layers at Grivac, one is in a shape
of anthropomorphic figurine, while two are
zoomorphic. Their colour is greyish and sur-
faces burnished. Anthropomorphic rattle has
stylized head without face features, prominent
shoulders, and arms merge into body mass, also
without details. As for the zoomorphic rattles,
it is not possible to determine which animal
they represent. The better-preserved one has a
rounded body on four small legs, and head with
muzzle, which may represent any animal. It was
decorated with deep incised lines. The other
rattle is only partially preserved. Unfortunately,
the context of these finds is uncertain, which
renders difficult assessing the social role of these
artefacts34.
Another zoomorphic rattle comes from
Vinča culture site Ratina – Divlje Polje near the
town of Kraljevo (south-western Serbia) (Fig. 4).
The animal body is preserved; head and tail are
missing. It consists of a massive body and four
legs. The object was made from coarse fabric
clay, black-greyish colour, decorated with incised
ornament, otherwise common for anthropo-
morphic figurines. It was examined with X-ray
and afterwards a small hole was made in order
Fig 4. Zoomorphic ceramic rattle from to investigate its interior. The object was shallow
Ratina – Divlje Polje, Vinča culture on the inside and thirty-two small pebbles were
(after VALOVIĆ 1987). placed in its interior in order to produce sound
when shaked. Pebbles were common, of irregu-
lar shape, and the twenty-eight of them were white and four black. According to the author who pub-
lished the find, the object is too heavy to be held by a child, so a ritual role was assigned to it35.
The sound-producing role of these objects is certain, although their social role is unknown and
was probably multiple (as toys, used in rituals, etc.).

Representations of music performance

Finally, one peculiar figurine from Vinča – Belo Brdo site may also be mentioned. It is an anthro-
pomorphic figurine with red surface, 6.1 cm long, with large head, and the most impressive detail on
it are the two protrusions. These protrusions were interpreted by the excavator, Miloje M. Vasić, as
DRAŠKOVIĆ 2008, p. 346, t. 11.6 d, g, h.
34

VALOVIĆ 1987.
35
 Musical Instruments in the Central Balkan Neolithic / 13

a double flute36. The picture is not clear, and the only other interpretation on this figurine is that “it is
obviously a figurine with two noses”37.

CONCLUSIONAL REMARKS
Music and sound producing instruments from Neolithic period in Central Balkans are few in
number and often ambiguous, i. e. these objects certainly have acoustic capacity but other interpreta-
tions are also possible. However, the presence of sound making is attested with certainty and we can
presume that there were many different sound-producing objects made from perishable material.
For the Early/Middle Neolithic Starčevo culture, data are very scarce and only few possible bone
musical instruments, mainly flutes or pipes were discovered. For later periods, for the Late Neolithic
Vinča culture, the evidence is a bit richer, but still limited – apart from possible bone flutes/pipes,
several clay rattles were discovered. The number of clay sound-producing artefacts may have been
larger, since it is difficult to identify them if they are fragmented; also, perhaps the number of bone
flutes/ pipes was bigger, but identification is uncertain due to fragmentation.
The role of music and producing sounds must have been important in Neolithic everyday and
ritual life; although instruments are very few, they are still display diversity in raw materials, forms
and sound they produced. Particularly rattles were very likely used as toys as well.
Future research, both future finds and re-examination of existing ones, may reveal more infor-
mation on the music experience in the Neolithic period.

ACKNOWLEDGMENTS
This paper is the result of work on the projects “Archaeology of Serbia: cultural identity, integra-
tional factors, technological processes and the role of the central Balkans in the development of the
European prehistory”, no. OI 177020, and “Bioarchaeology of ancient Europe: humans, animals and
plants in the prehistory of Serbia”, no. III 47001, funded by the Ministry for Education and Science.

Bibliography
ALBRECHT ET AL 2001 Albrecht G., Holdermann C.-S., Serangeli J., Towards an archaeological appraisal of
specimen N° 652, from Middle-Palaeolithic level D /(layer 8) of the Divje babe l, in AV 52,
p. 11–15.
BAČKALOV 1979 Bačkalov A., Predmeti od kosti i roga u preneolitu i neolitu Srbije, Beograd, Savez
Arheoloških društava Jugoslavije.
BUISSON 1990 Buisson D., Les flûtes palaéolithiques d’Isturitz (Pyrénées-Atlantiques), in Bull Soc Préhist
Fr 87/10–12, p. 420–433.
CHASE, NOWELL 1998 Chase P., Nowell A., Taphonomy of a suggested Middle Palaeolithic bone flute from
Slovenia, in Curr Anthrop 39 (4), p. 549–553.
CLODORÉ-TISSOT Clodoré-Tissot T., De la préhistorie à l’âge du Bronze (9000–2300 avant J.-C.), in Sons et
2002a instruments de musiques des âges du Bronze et du Fer en France, Musée de Préhistoire de
Nemours, exposition 2002, p. 47–57.
CLODORE-TISSOT Clodoré-Tissot T., L’introduction du métal dans le paysage sonore: de l’âge du Bronze à la
2002b fin du premier âge du Fer (2300–450 avant J.-C.), Sons et instruments de musiques des âges
du Bronze et du Fer en France, Musée de Préhistoire de Nemours, exposition 2002,
p. 59–99.
CONRAD ET AL 2009 Conrad N., Malina M., Münzel S., New flutes document the earliest musical tradition in
southwestern Germany, in Nature, p. 1–4, doi:10.1038/nature08169.

36
VASIĆ 1936, p.146.
37
KOROŠEC 1959.
14 / Selena Vitezović

COUMONT 2003 Coumont M.-P., Approche methodologique de l’étude des intruments sonores en os
de la préhistoire: aspects taphonomiques et fonctionnels, in L’industrie osseuse pré- et
protohistorique en Europe. Approches technologiques et fonctionnelles. Actes du colloque 1.6,
XIVe Congrès de l’UISPP, Liège, 2–8/09/2001. Bulletin du Cercle archéologique Hesbaye-
Condroz, tome XXVI/2002, Amay, p. 87–95.
D’ERRICO ET AL 1998 d’Errico F., Villa P., Pinto Llona A. C., Ruiz Idarraga R., A Middle Palaeolithic origin
of music? Using cave-bear bone accumulation to assess the Divje Babe I bone „Flute“, in
Antiquity, p. 65–79.
DAMS 1984 Dams L., Preliminary findings at the “Organ Sanctuary” in the Cave of Nerja, Malaga, Spain,
in OxfordJA 3 (1), p. 1–14.
DAMS 1985 Dams L., Palaeolithic lithophones: description and comparisons, in OxfordJA 4 (1),
p. 31–46.
DAUVOIS 1994 Dauvois M., Les temoins sonores paléolithiques exterieur et souterrain, in Otte M. (ed.),
Sons originels. Préhistoire de la musique, Liège, ERAUL 61, p. 11–31.
DAUVOIS 2002 Dauvois M., Instruments sonores et musicaux préhistoriques. Préhistoire de la musique,
in Sons et instruments de musiques des âges du Bronze et du Fer en France, Musée de
Préhistoire de Nemours, exposition 2002, p. 33–45.
DRAŠKOVIĆ 2008 Drašković R., Miniature vessels, weights of baked clay, circular plates, musical instruments,
cult objects, in Bogdanović M. (ed.) Grivac. Settlements of Proto-Starčevo and Vinča
culture, Kragujevac, Center for Scientific Research of Serbian Academy of Sciences,
p. 345–354.
GIMBUTAS 1976 Gimbutas M., Ornaments and other small finds, in Gimbutas M. (ed.), Neolithic
Macedonia. As reflected by excavation at Anza, Southeast Yugoslavia, Los Angeles,
p. 242–256.
HAHN, MÜNZEL 1995 Hahn J., Münzel S., Knochenflöten aus den Aurignacien des Geissenklösterle bei Blaubeuren,
Alb-Donau-Kreis, in Fundberichte aus Baden-Würtemberg 20, p. 1–12.
KOROŠEC 1959 Korošec J., Prehistoriska glinena plastika u Jugoslaviji, in ARR I, p. 61–117.
LOVRENČEVIĆ 1973 Lovrenčević Z., Aerofoni instrumenti u Bilo-Gori (Aerophone Musikinstrumente im
Bilo-Gebirge), in Narodna umjetnost 9/1, p. 159–194.
LUND 1981 Lund C., The Archaeomusicology of Scandinavia, in WorldA 12/3, p. 246–265.
MEGAW 1960 Megaw J. V. S., Penny whistles and prehistory, in Antiquity 34 (133), p. 6–13.
MORLEY 2003 Morley I., The Evolutionary Origins and Archaeology of Music, PhD thesis, Cambridge
University, Cambridge.
MORLEY 2005 Morley I., The Long-Forgotten Melody? Music in the Mesolithic, in Milner N., Woodman
P. (eds), Mesolithic Studies at the beginning of the 21st Century, Oxford, Oxbow Books,
p. 212–224.
MORLEY 2013 Morley I., The Prehistory of Music – Human Evolution, Archaeology & the Origins of
Musicality, Oxford University Press, Oxford.
OLIVER ET AL 2001 Oliver B. M., Arias-Gago del Molino A., Martínez Valle R., Juan-Cabanilles J., Los
tubos de hueso de la Cova de l’Or (Beniarrés, Alicante). Instrumentos musicales en el Neolítico
antigui de la Península Ibérica, in TP 58/2, p. 41–67.
REZNIKOFF, DAUVOIS Reznikoff I., Dauvois M., La dimension sonore des grottes ornées, in Bull Soc Préhist Fr 85/
1988 8, p. 238–246.
RUSSELL 1990 Russell N., The bone tools, in Tringham R., Krstić D. (eds), Selevac. A Neolithic village in
Yugoslavia, Los Angeles, p. 521–548.
TREHUB ET AL 2015 Trehub S., Becker J., Morley I., Cross-cultural perspectives on music and musicality,
in Philosophical Transactions of the Royal Society B, 370: 20140096, http://dx.doi.
org/10.1098/rstb.2014.0096.
TURK ET AL 2001 Turk I., Dirjec J., Bastiani G., Pflaum M., Lauko T., Cimerman F., Kosel F., Grum J.,
Cev P., New analyses of the “flute” from Divje babe I (Slovenia), in AV 52, p. 25–79.
VALOVIĆ 1987 Валовић С., Ритуална неолитска зооморфна звечка из Ратине, in Naša
prošlost 2, p. 219–226.
 Musical Instruments in the Central Balkan Neolithic / 15

VASIĆ 1936 Васић M., Преисториска Винча II. [Preistoriska Vinča II], Beograd.
VITEZOVIĆ 2007 Vitezović S., Koštana industrija u neolitu srednjeg Pomoravlja, MPhil thesis, Faculty of
Philosophy, Belgrade University.
VITEZOVIĆ 2011 Vitezović S., Koštana industrija u starijem i srednjem neolitu centralnog Balkana, PhD
thesis, Faculty of Philosophy, Belgrade University.