Understanding the Quadruple Flutes of Teotihuacan, Mexico

Arnd Adje Both

doi:10.3390/heritage5010009

Abstract

This paper presents the results of a study on the quadruple flutes (multiple pipes) from the UNESCO World Heritage Centre of Teotihuacan, Mexico, based on a thorough examination of the fragmented, restored and partly reconstructed archaeological finds and the manufacture and subsequent test of a series of playable reproductions with a refined reconstructive design. For the latter, organological features, such as the diameter, number and position of the fingerholes/tone holes and the length of the individual pipes of the restored finds are challenged and a new design is proposed that might be closer to the original construction of the Teotihuacan instruments. The study reveals a better understanding of the particular construction, acoustics and musical possibilities of the Teotihuacan quadruple flutes.

Highlights

The UNESCO World Heritage Centre of Teotihuacan, situated in the Central Mexican Highlands at an altitude of 2280 masl, was a civic-religious centre established in the Late Preclassic period of Mesoamerica around 150 BCE and one of the most powerful cultures during the Classic period between 200–650 CE
The present study is the result of an ongoing research project on the sonic environment of Teotihuacan, in which the instruments of the site are studied within the acoustic ecology of the site
The Teotihuacan quadruple flutes are among the most elaborate ceramic fipple flute instruments documented for Mesoamerica

Summary

Introduction

The UNESCO World Heritage Centre of Teotihuacan, situated in the Central Mexican Highlands at an altitude of 2280 masl, was a civic-religious centre established in the Late Preclassic period of Mesoamerica around 150 BCE and one of the most powerful cultures during the Classic period between 200–650 CE. The present study is the result of an ongoing research project on the sonic environment of Teotihuacan, in which the instruments of the site are studied within the acoustic ecology of the site. As the full array of sonic artefacts reported for Teotihuacan is not preserved and not all finds can be tested because of their fragmented or fragile condition, another part of the project is the reproduction of an array of Teotihuacan sound-producing instruments in the form of replicas. The archaeological contexts of the finds and the Teotihuacan music iconography are being revised, among other factors supporting interpretation of the playing postures and cultural contexts in which the instruments were sounded

Methods

Results

Conclusion