I have written about lithophones, as well as music and rock art, in previous columns (please check the cloud index at the bottom of the blog to see those articles). In this column I am going to discuss the relationship of lithophones to rock art panels on the Canary Islands.
In a study of the rock art and lithophones of the Canary Islands, lead author Marco Merlini explained “Rock carvings are one of the most significant expressions of Guanches, the aboriginal stone age population that disembarked at the Canary archipelago during the first millennium BCE. It was formed by Paleo-Berbers with roots in the Mediterranean North African koine and with close links to the Libyan-Punic milieu.” (Merlini 2019:1) In linguistics, a koine or koine language or dialect is a standard or common dialect that has arisen as a result of the contact, mixing, and often simplification of two or more mutually intelligible varieties of the same language. (Wikipedia) Lithophones have been found all over the world and from a great many cultures, both ancient and modern. These musical rocks consist of many different minerals from limestone, lavas and granites to jade and stalactites.
In the Canary Islands “lithophones are located alongside petroglyphs, drawings and inscriptions incised into rocks of archaeological sites that are often astronomically significant. The sound rock sites and their use from prehistorical times until recent times are recalled by oral tradition too. In several instances, we know only the toponyms of the lithophonic sites, their location, and a generic oral memory emphasizing their special (and sometimes reputed magic) sonorous effects. The collective, although feeble, reminiscence maintained in the Canary Islands generation after generation represents the fundamental base of the investigation on the music of the stones. It includes: explication of toponyms; association of the lithophones with the ancestral meaning of rock carvings, channels, cup-marks, and other types of rock art in the surrounding areas; their relationship with engraved texts; connections of the ringing stones with legends and related traditions as places of worship, and/or of performing special rituals, and/or of supernatural interest and consecration.” (Merlini 2019:246) The authors included no actual factual evidence of astronomic significance of either petroglyphs or lithophones, but the possibility is not out of the question.
“Canary Archipelago possesses an atout (asset) for our chances to understand the pre-historical exploitation of rock art sites for music-making. If we get to know that a natural “rock gong” produces sounds on a musical scale, then the subsequent question is to understand how it was used in the past, and even if it was actually in use. Association with musical instruments, petroglyphs, cave paintings and archaeological remains give only partial hints. The lithophones of the Canary Islands were alive in the troglodyte pre-Hispanic period and sometimes even after it. Part of the question concerning their exploitation is therefore solvable thanks to oral traditions or legends about their role in ceremonies or in creating an alert. The Canary Islanders, descendants from the Guanches, keep memory about certain stones and rock surfaces that were in use even in historical times to produce a peculiar metallic sound when being struck, and their peculiar association with rock art engravings.” (Merlini 2019)
Robert Bednarik (2010) wrote about lithophones being useful for long distance communication. “Judging from the few recorded instances it seems the utilitarian role of lithophones or rock gongs relates primarily to the communicating or carrying ability of the produced sound, and the metallic sound of effective lithophones can carry over distances of several kilometres. as mentioned above, in one report it serves to communicate with ancestors.” (Bednarik 2010:117)
The government has sponsored a study of Canary Island lithophones. “Through the work promoted by the General Directorage of Cultural Heritage in Tenerife, La Gomera and El Hierro, three types of lithophones have been documented: percussion, aerophones and rocking. The latter has only been found on the island of El Hierro and, as its name suggests, the sound is produced by rocking.” (Europa Press 2022) Someone standing on the top stone with one foot on each side can, by shifting weight, start a rocking motion on the top stone. The friction between the shifting top stone and the rock beneath causes the vibration that makes the sound. I wonder if the top stone would also ring if just struck like the other lithophones?
“Sometimes Guanches shaped the acoustic space. In certain cases, they arranged the stone blocks to empower their sonority. For example, lithophones have been oriented to empower the sounding board effect of the surrounding space. In other cases, the natural sound of the rocks was accentuated by artificial layout and configuration of the place (Ulbrich 2003).
Lithophones are located alongside petroglyphs, drawings and inscriptions incised into rocks of archaeological sites that are often astronomically significant. The sound rock sites and their use from prehistorical times until recent times are recalled by oral tradition too. In several instances, we know only the toponyms of the lithophonic sites, their location, and a generic oral memory emphasizing their special (and sometimes reputed magic) sonorous effects. The collective, although feeble, reminiscence maintained in the Canary Islands generation after generation represents the fundamental base of the investigation on the music of the stones. It includes: explication of toponyms; association of the lithophones with the ancestral meaning of rock carvings, channels, cup-marks, and other types of rock art in the surrounding areas; their relationship with engraved texts; connections of the ringing stones with legends and related traditions as places of worship, and/or of performing special rituals, and/or of supernatural interest and consecration. However, still nowadays the ancestral sonorous rocks are affected by suspicions that chains them to "pagan culture and spirituality". Lithophones have a diversity of forms, structures, geological frames and sounds, but they share a gloomy common denominator: most of them have been vandalized, plundered, but never Christianized, i.e. reformulated and taken under control by the Catholic Church and its liturgy. Contrariwise, the lithophones had a social and cultural solid place in the Canary native world.” (Merlini 2019)
In the statement by Bednarik above (2010) he speculates that the primary utilization of lithophones is for communication. This generalization seems based on the fact that any form of sound produced and then heard is, in some sense, communication. “Most likely, their ancient function was multiple, taking advantage of their sonority and the exceptional loudness that benefit the sites in which they are embedded. Prehistoric and protohistoric manifestations firstly inserted the lithophones among the natural sites that anchored animism and attested the magic-ritual features of the sound of the volcanic stones. Music had not only a playful character, but also ceremonial in association with crops, cures, and offerings to divinities and deceased. Spanish conquerors and their chroniclers inform about rites of the ancient Canarians, mainly hinged on the request for rain. They included fasting of the entire village, processions with their livestock to certain elevated places or to the ocean, lamenting invocations by humans and even cattle and flocks (that Europeans misunderstood as yelling and barking), round dances, beating the ocean with sticks, sink palms and branches into the sea to make them weep, etc. Lithophones offered support for rhythmic or a-rhythmic sound production within the proscenium for the sacred acts aimed to gain the divinities’ pity (Ulbrich 2003).” (Merlini 2019) Again, the purpose is assumed to be communication, in this case with the divinities.
Of course tapping or pounding a boulder with another rock will eventually make marks, especially since reportedly many of the lithophonic boulders make different notes what struck in different locations. The question then should be are these marks also petroglyphs although they are a result of making a sound, not an image? Unfortunately, Merlini’s paper (2019) neglects to establish any relationship between the lithophones and certain petroglyphs, although a few may be discerned from illustrations.
NOTE: Some images in this posting were retrieved from the internet with a search for public domain photographs. If any of these images are not intended to be public domain, I apologize, and will happily provide the picture credits if the owner will contact me with them. For further information on these reports you should read the original reports at the sites listed below.
REFERENCES:
Bednarik, R. G., 2010. About lithophones. In R. Querejazu Lewis and R. G. Bednarik (eds), Mysterious cup marks: proceedings of the First International Cupule Conference, pp. 115-118, BAR International Series 2073, Archaeopress, Oxford. Accessed online 18 June 2024.
Europa Press, 2022, Documented a new typology of lithophones in El Hierro, 15 June 2022, Tenerife Weekly, https://tenerifeweekly.com. Accessed online 11 February 2024.
Merlini, Marco, 2019, The Sound of Rock Art: Canary Lithophones, https://www.academia.edu. Accessed online 17 June 2024.
Wikipedia, Koine language, en.wikipedia.org/wiki/koine_language. Accessed online 16 September 2024.
SECONDARY REFERENCE:
Ulbrich, H. J., 2003, Frequenzanalyse eines Lithophons auf Lanzarote
(Kanarische Inseln), Almogaren XXXIV,
Wien, p. 331-346.
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