Strung rattles of teeth, shells and hooves have traditionally been thought to be among the earliest musical instruments. These sound producers, which are suspended from the neck, arms, legs or clothing, are often used to highlight dancing. This study seeks to explore whether similar rattles can be traced to the northern European Middle Neolithic. The research material comprised fifty-three animal tooth pendants from graves at Ajvide, Gotland, Sweden (c. 2900-2300 cal. BC). Microscopic analysis showed that the pendants from Ajvide are well-worn and abraded, especially on their opposing perforated sides. Because the pendants usually appear in clusters or hem-like rows on the hips or legs of the deceased, a plausible explanation for their use-wear is that they once struck each other. This concussion resulting from the wearer's movements would have created a rattling sound. The acoustical properties of this sound can be demonstrated with copies of animal teeth. This article aims to provide insight into the previously little explored world of Neolithic sound.

In northern Finland, near the canyon lakes of Julma-Ölkky, Somerjärvi and Rotkojärvi, steep rock cliffs produce distinctive acoustic spaces. On these cliffs, prehistoric rock paintings (5200 to 1000 BC) as well as an ancient Sámi offering site (circa 1100 to present) can be found. Ethnographic sources describe that the Sámi used to sing and listen to echoes while making offerings there. This article presents the results of an archaeoacoustic research project that seeks to explore the role of sound in the development and use of these archaeological sites. The innovative set of methods includes multichannel impulse response recording, angle-of-arrival estimation of early reflections, spectrum analysis, digital image processing and 3D laser scanning. On the basis of the analyses, it is concluded that the cliffs that have been painted or held as sacred are efficient sound reflectors. They create discrete echoes and, accordingly, phantom sound sources. Especially at the Värikallio cliff near Lake Somerjärvi, the sound appears to emanate directly from the painted figures. These results, together with previously unnoticed drumming figures in the Värikallio painting, provide a clue to the significance of the sound rituals at these sacred sites.

More than 4300 Eurasian elk (Alces alces) incisors, most of them pendants, were found in 84 burials in the Late Mesolithic cemetery of Yuzhniy Oleniy Ostrov, Northwest Russia. We analysed the manufacture techniques of elk teeth (4014), in the collection of the Peter the Great Museum of Anthropology and Ethnography, St Petersburg. A striking observation is that the manufacture of these pendants is similar in all burials. Teeth were worked by carving one or several grooves around the root tip. In addition to grooved ones, a number of teeth were not worked at all. The uniformity of the chosen species, tooth and techniques indicates that strict norms prevailed in the pendant industry. Despite the overall similarity, our study shows some variation in making pendants. A groove can cut the whole circumference of the root, or several distinct grooves can mark opposite sides of the root. Sometimes the grooves are deep and made carefully, and sometimes they are weak and made hastily. A typology of various groove types was created. In many graves, one groove type dominates. We interpret that this inter-burial variation and domination of one type resulted from personal choice and taste based on practicality. Such variation could also be associated with kin identifiers, but we did not find clear support for that in our study. Our study indicates that the groove types as such had no connection with particular ornaments, garments or hanging positions.

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In the Late Mesolithic graves of Yuzhniy Oleniy Ostrov, northwest Russia, large numbers of Eurasian elk (Alces alces) incisors have been found. These teeth, for the most part fashioned into portable pendants, seem to have formed decorative sets for the garments or accessories of the deceased. This article examines both the technologies associated with these artefacts and their uses, as well as reflecting on the sensorial experiences generated by them. Osteological analysis of a sample of 100 specimens indicates that all types of incisors were used for making the pendants. Traceological analysis indicates that the teeth were modified by scraping, grooving, grinding and retouching. Traces of wear consist of general wear and distinctive pits or pecks on the perimeters of the crowns. These traces indicate that the pendants were worn before their deposition in the graves, in such a way that they were in contact with both soft and solid materials. This pattern of pits or pecks has until now been unreported in the traceological literature. In experiments, a similar pattern emerged when pendants of fresh elk incisors were hung in rows and bunches and struck against one another. These strokes created a rattling sound. Thus, the elk incisors of Yuzhniy Oleniy Ostrov appear to provide insight into previously unattainable sonic experiences and activities of Mesolithic hunter-gatherers, as well as the early history of the instrument category of rattles.