PHONO INSTRUMENTS OF THE MEZIN COMPLEX (UKRAINE): TECHNOLOGICAL ANALYSIS OF STRAIN TRACES*

In Russian archeology, the topic of musical culture in the Stone Age and the identification of its features in the archaeological context is practically not developed. In Eurasia, finds interpreted as musical instruments make up a solid collection. Our technological expertise of the objects of the Mezinsky musical complex revealed areas with obvious violations of the natural state of the surface. The results of the study reliably confirm that these artifacts could be used as phono instruments. The modern classification of percussion - type musical instruments makes it possible to assign objects of the Meza complex to the subgroup of non-tunable ones-percussive, self-sounding, resonator and non-resonator.

Keywords: Mesin, Late Paleolithic, Epigravett, percussive musical instruments, trace analysis, technological analysis, deformation, traces.

Introduction

The appearance of musical instruments, both the simplest and more complex, is clearly considered a sign of the human behavioral complex of the modern physical type and is associated with the context of a wide range of innovations at the early stage of the Upper Paleolithic (Mellars, 2005; Vishnyatsky, 2005). The question of the genesis, evolution and spread of musical culture in the Stone Age remains within the framework of the discussion on the formation and development of modern anatomical human culture [D'Errico et al., 1998; Mithen, 2005; Otte, 2000; et al.]. It should be noted that it is difficult to identify Paleolithic musical instruments, since it is impossible to conduct direct iconographic or ethnographic studies. parallels. A series of bone flutes and whistles in the Early Aurignacian complexes of Eurasia indicate the stability of musical traditions at the turn of 40-30 KA BP (Bolus and Conard, 2009; D'Errico et al., 2003; Lbova, Kozhevnikova, Volkov, 2010-2011; etc.).

Children's toys that produce sounds, household tools (for example, decoys), ritual objects, and primitive musical instruments can be grouped under the concept of "phono tools" (Sheikin, 2002). By a musical instrument, we mean an object that can reproduce various sounds with the participation of a person.

* Works performed under agreement 14. B37. 21. 0995 of the Federal Target Program "Scientific and scientific-pedagogical personnel of innovative Russia", projects of the International Association of Humanitarians (MAG-2012-2013) and RGNF (N 13 - 04 - 00070, 13 - 21 - 08002).

These items are used to create a rhythmic soundtrack that varies in tone and pitch.

The Meza collection, interpreted as an ancient musical complex made of mammoth bones, is discussed in detail in the monograph by S. N. Bibikov [1981, 2008]. The researcher decided to publish the materials 25 years after their discovery (excavations in 1956). His approach and interpretation seemed unconvincing to many scientists. Modern data from Paleolithic archaeology and ethnomusicology form the necessary scientific context that S. N. Bibikov so lacked. The few materials known at that time from the Paleolithic sites of Lespug, Gurdan, Dolni Vestonice, etc., as well as whistle instruments, aerophones, and flutes from the monuments of Molodoy V, Ataka I, Avdeevo, Kostenki, and Tataria did not receive a proper cultural and historical interpretation in the 1960s (Hausler, 1960). The boldness of S. N. Bibikov's hypotheses, innovative methods of studying the unique complex are impressive, and the revision of previously existing ideological dogmas allows us to assess the significance of this outstanding discovery [Ott, 2008].

A detailed description of the Mezinsky Orchestra was first published in the UNESCO Courier magazine (Bibikov, 1975). His excellent knowledge of ethnography and the involvement of complex research data (with the participation of archaeologists, traceologists, paleontologists, and forensic experts), which revealed traces of the use of these artifacts as phono tools, allowed S. N. Bibikov to conclude that the bones found at the Paleolithic site are a set of percussive musical instruments. Later, this article was published in the collection "Readings on Physical Anthropology and Archeology "(Bibikov, 1978); in the future, all references in foreign literature will be to it.

In foreign publications devoted to the origin and development of music and musical instruments, the Mezinsky complex is mostly only mentioned in the context of other finds that indicate musical creativity in the Paleolithic [Dams, 1985; Lawergren, 1985; Dauvois, 1994; D'Errico et al., 2003; Fitch, 2006; Oerter, 2007; and A detailed analysis of items from the Meza collection is given by Ya. Morley (2003). It confirms the interpretation of the ornamented mammoth bones as the oldest percussive musical instruments. Expressing the point of view of S. N. Bibikov, the author notes that some archaeologists and musicologists are very skeptical about such conclusions, despite the expert examination data on the presence of wear marks on the bones from blows, as well as from contact with a human hand [Ibid., pp. 67-68]. Such wear and tear is not necessarily explained by the use of objects as musical instruments, since the everyday activities of primitive man were often associated with percussive actions [Lawson et al., 1988; Scothern, 1992]. However, the fact that the mammoth bones were found in a particular context, together with a hammer, mallets and a "noisy" bracelet, it still speaks in favor of this interpretation. According to J. Morley, the anthropogenic origin of wear marks on these bones does not raise any doubts [Morley, 2003, p.67-68]. Attention is paid to the Mezinsky complex in the works of Ukrainian archaeologists [Archeology..., 1987]. Describing the flute from layer IV of the Molodovo V Paleolithic site, the authors mention percussion musical instruments from Mezin. It is worth noting that even today some Ukrainian archaeologists are quite skeptical, and sometimes even negative, about the interpretation of painted mammoth bones as musical instruments (see, for example, [Yakovleva, 2013, p. 62]). In Russian archeology, the Meza collection is mentioned in generalizing works on Paleolithic art and symbolic and symbolic behavior [Origin..., 2004; Culture..., 2009; etc.]. Summarizing all the above, it is important to note that "doubts" and "denials" are not confirmed by actual material, there is no opposition to the results of research by S. N. Bibikov's group, and there is no subject for discussion.

Context of finds

The Paleolithic site Mezin is located on a high terrace on the right bank of the Desna River in the village of the same name, Chernihiv region (Ukraine). The monument was discovered in 1908 by F. Vovk, who also conducted the first studies in 1909, 1912-1914, and 1916. S. I. Rudenko, P. P. Efimenko, L. Chikalenko and others took part in the research. In 1930 and 1932, M. Y. Rudinsky continued his research. Extensive excavations under the direction of I. G. Shovkoplyas in 1954-1957, 1959-1961 were of key importance, the uncovered area of the parking lot was 1200 ^m2. The monument was dated ca. 20 thousand years ago (Shovkoplyas, 1965; Bibikov, 1981).

Numerous stone tools, bone products, art objects, and faunal remains were found at the Mezinsky site. The collection of stone artifacts includes more than 113 thousand items made from local flint. The primary splitting technique is characterized by prismatic nuclei of small sizes (up to 60-80 mm) and plates chipped from them, which were the main type of workpiece. The tool set (approx.4 %) is dominated by incisors (approx. 60 %), lateral, angular and median. About 15% are scrapers (end, double, etc.). The main categories of guns are complemented by tronked plates, asymmetric ones.-

ria, punctures. Micro-equipment is quite diverse and representative. In dwelling 1, where ornamental bones were found, flint products were practically absent. The industry of the Mezinskaya parking lot fully corresponds to the epigravette, but at the same time it differs from other simultaneous technocomplexes in the region. Recently, a similar industry has been found at the Barmaki site near Rovno (Western Ukraine) (Piasetsky, 1997; Nuzhnyi, 2008). A fragment of a bracelet with a similar Mezinsky ornament was also found here.

Table 1. Absolute dating data for materials from the Mezinskaya site

Fig. 1. Plan of dwelling 1 of the Mezin parking lot (according to [Bibikov, 1981, fig. 27]).

I-III-bonfires; 1-9-finds; a-d - " stepsons "(additional props); k - ochre; 24 - 26, 31 - 33, 38 - 40 - numbers of excavation squares.

Recently, a series of radiocarbon dates have been obtained for the Mezin site (Table 1). We tend to date it within 15-14 Ka BP. This is supported by the nature of the industry, similarity with the materials of the Barmaki monument, for which a date of 14,300 ± 220 BP (Ki-11087) was obtained (Nuzhnyi, 2008, p. 98), as well as paleontological and palynological data indicating a rather cold climate of the periglacial zone.

The objects studied by us were located in a compact group in the south-western part of dwelling 1, within the excavation squares 24,25 (Fig. 1). During field work, the ornament on them was not marked, it was found after dry cleaning during cameral processing. I. G. Shovkoplyas interpreted these bones as the oldest evidence of "painting art" in Eastern Europe and suggested that the objects served as interior decoration [1965].

Large mammoth bones with ornaments were accompanied by reserves of ochre (up to 10 kg), sea shells, ornaments, and needles. Attention is drawn to four accumulations and separate pieces (lumps) of red and yellow mineral ochre on the floor of the dwelling in the immediate vicinity of the complex of "painted mammoth bones". The significance of this finding also lies in the functional connection of ochre reserves with this complex, as well as their microstratigraphic and topographical unity (Bibikov, 1981). Our analysis of the ochre pieces revealed no evidence of their use.

Materials and their analysis

The objective of this study was to search for and analyze the technological traces of adaptation of natural raw materials (bone) to use as percussion instruments recorded by modern equipment on the example of artifacts of the "Mezinsky ensemble". Undoubtedly, the time and a number of restoration and conservation activities carried out in the State Hermitage Museum in 1979* were extremely limited.-

* Ornamented mammoth bones from the Mezin site (shoulder blade, femur, part of the pelvis, two lower jaws, tusk plates that made up the bracelet) were professionally restored in the State Hermitage Museum (restorer K. F. Nikitina)

Table 2. Items of the Mezinsky complex with traces of use as phono instruments

^*1 "The inner part is not cleaned, filled with glue, so the actual weight of the item is much less.

^*2 Averaged dimensions.

^*3 The weight of the product is less; the item is completely covered with glue.

^{* 4} The audio extraction experiment is not possible due to poor preservation and fragmentation of the item.

they make it difficult to fully describe and interpret them. Comparison of our results with the handwritten and published materials of G. F. Korobkova, who was the first to analyze the collection, nevertheless allows us to confirm most of the conclusions and suggest some new subjects concerning the technology of manufacturing and using objects of the Meza complex. In this study, fragments of mammoth tusks were not considered due to the absence of traces that characterize their belonging to phono instruments. In the collection presented for analysis, eight objects were identified, on the surface of which we recorded traces of use as phono instruments (Table 2). We also managed to clarify the features of the processing technology and sound extraction.

Mammoth shoulder blade. The dark red mural is fixed on the medial side of the scapula, with the exception of the cranial-dorsal part and the tooth-

in 1979. This is confirmed by correspondence between the leadership of the Academy of Sciences of the Ukrainian SSR and the State Hermitage Museum and the corresponding acts of acceptance and transfer of exhibits (24.12.1976 and 08.02.1979). In 1993, during the exhibition "Mammouts and elephants" ("Mammouts et elephants") in the Malgre-Tout Museum (Treignes, Belgium), the bones were cleaned from the old glue.

that surface with a pronounced muscular relief. Towards the center of the scapular fossa, the pattern gradually disappears. The construction of the ornament is linear-zigzag, parallel. The strips, presumably applied with a wooden or bone spatula, have approximately the same width-80-90 mm, the distance between them is the same. The joints of the zigzag stripes are obtuse and neatly decorated. According to S. N. Bibikov, the drawing "looks compositionally balanced, rhythmic, stands out well against a light background" [1981, p. 54-55].

In the course of studies conducted by G. F. Korobkova in 1976, eight zones with deformity of the natural surface of the bone were identified (see: [Bibikov, 2008, figs. 28, 29, 30]). We agree with the results obtained on most points. It should be clarified that our research was mainly based on the analysis of macro-signs, since most of the micro-traces on the surfaces of artifacts were destroyed during restoration and conservation work. Section I, which occupies almost the entire subscapular fossa, is severely damaged. In its peripheral part, there is a clearly visible transition from a polished, worn-out surface to an intact porous bone structure (Figs. 2, 1). The zone of this kind of deformation of the studied surface overlaps with the zone of bone coloring, the ornament on which was applied at an earlier time. On section II, located just below the attachment point of the toothed muscle, linear traces were recorded, presumably formed from the abrasive action of coarse-grained sand (Fig. 2, 2). Zone III, located at the edge of the bone, is characterized by the presence of unidirectional linear traces. In the immediate vicinity of it, in the area of the neck of the scapula, a smoothness (section IV) was recorded, which could have occurred as a result of bone contact with soft organic material. The adjacent section retains its natural surface (Figs. 2, 3). A compact zone of relatively intense smoothness (section V) is located on the neck of the scapula, partially covering the cranial edge. It overlaps the painted surface. In the course of our experiments, there was an establishment. 2. Deformations of the natural surface of the mammoth shoulder blade. 1 - zone of transition from a worn surface to an intact bone structure; 2-linear traces in section II; 3 - traces of smoothness and natural bone surface in zone IV; 4 - smoothness in section V; 5 - traces of restoration in zone VI; 6-formation of a support platform in section VIII; 7 - location of the artifact 8 - location of the artifact "on the ground", at which the plane of support could be formed on site VIII; 8-location of the artifact "on the ground", at which the resonating cavity is formed.

but: if you hold the scapula in your hands with the neck down, then it is on this area that the palm of the hand that left characteristic traces on the artifact falls (Fig. 2, 4). On the caudal corner of the bone from the lower edge (zone VI), there is an erasure noted by G. F. Korobkova. However, a more detailed analysis of this area is not possible, since the surface is covered with a thick layer of restorative composition (Figs. 2, 5). The same situation is observed at the cranial angle. On the ridge of the scapula (on the lateral side), which protrudes about 130 mm above the surface (section VIII), there is a flattening of the spongy mass, which could have been formed as a result of the artifact's support on the ground (Fig. 2, 6), which corresponds to the inverted position (working) of the scapula (Fig. 2, 7, 8) With such an arrangement of the artifact, a volume is formed between the bone surface and the support plane, which, as our experiments showed, could be used as a resonator.

Depending on the location of the shock pad, the resulting sounds were low and high register. During the experiment on sound extraction, we identified three possible positions when using the scapula as a musical instrument. Two of them are supported on the ground. In the vertical position, the fulcrum points are sections VII and VI, and in the horizontal position, sections VIII, VII and VI. The third position is without support on the surface (in the hands, on the weight), which is indicated by the areas marked as areas of contact between the bone and soft organic material. In the course of this experiment, we also identified the most efficient sound production zone, which coincides with section I.

Mammoth femur. Bone preservation is satisfactory, the color is gray-yellow, dark spots of manganese compounds appear in places. On the back of the diaphysis, damage in the form of detachment of the surface compacts is noted, and longitudinal cracks are noticeable. On the flattened lateral side in the dorsal part, the ornament is preserved, on the medial and ventral parts it is not fixed. The drawing is simple and very sloppy: 20 strips with a length of 60 - 70 mm and a width of up to 10 mm are marked. The paint was most likely applied with the finger of the hand, which is confirmed by the characteristic configuration of the smear at the beginning and end of each strip (Fig. 3, 3).

3. Traces of anthropogenic origin on the femur (1-3) and lower jaws N 1 (4, 5), 2 (6 - 8) mammoths. 1-linear slits on the painted surface of the bone; 2 - traces of a cutter with a specific working edge; 3-paint smears; 4 - traces of planing in the area of the compact; 5 - traces of knife work in the area of the epiphysis neck; 6-traces of ochre and damage to the bone with its probable support on the surface; 7 - traces of ochre on the lower part of the buccal arches; 8 - traces of restoration.

On the stained side of the bone, we identified 11 single and 4 double incised lines, the length of which varies from 40 to 75 mm (Fig. 3, 1). The incisions are relatively shallow and probably made with a flint incisor with a specific (two-pronged) working edge (Fig. 3, 2). The ochre pattern was applied to the surface of the bone. the surface of the bone is later than the carving, as evidenced by the presence of paint in places in the slots.

It is necessary to note the removal of the upper epiphysis and the creation in the spongy body of a channel with a diameter of up to 130 mm, narrowing to 50 mm and turning into a natural bone-marrow channel, the depth of the entire channel reaches 530 mm. According to S. N. Bibikov, this artificial cavity was made to enhance the acoustic properties of the bone, its sound and timbre [1981, p. 77].

Experiments on the use of an artifact as a musical instrument have shown the possibility of obtaining a variety of sounds, deaf and sonorous, high and low, the quality of which is determined by the place of impact of the percussion instrument on the surface: higher bone compacts in the area of the selected bone, a decrease in tone is noted as you move away from this area.

Large fragment of the right half of the mammoth pelvis. Bone preservation is satisfactory, the color is light yellow. The painting is distinct in the area of the sacral protuberance, on the inner sacro-pelvic surface there is a dark spot, which is adjacent to three obliquely directed parallel stripes 100-110 mm long, 11.3 to 12.8 mm wide. On the inner side of the iliac wing, 10-11 zigzag (three to four knee - length) stripes are visible, forming a dense pattern similar to the ornament on the scapula.

The revealed macro-signs allow us to state that part of the surface of the ilium was treated with a planing tool and a chisel. The zones of localization of wear and deformation of compacts in the center of this bone noted by S. N. Bibikov [2008, Fig. 45, 1, p. 83] have not been identified by us, since the layer of restoration mass makes it impossible to study it microscopically at present. During experiments with the artifact as a percussive musical instrument, low muffled sounds were obtained.

Lower jaw of mammoth N 1. It belonged to a relatively young individual. The security is satisfactory, the color is light yellow. In the posterior part of the right half of the jaw, from the lower zone of the coronal process to the joint, the surface is covered with a painting. There are 15 parallel zigzag stripes of dark red color, each of which consists of two or four segments located at an obtuse angle to each other. The paint is applied in a thick layer, the borders of the painted area are distinct. Repeated repainting/tinting of the surface is noted. Microscopic analysis revealed relatively shallow linear scratches that damaged the painted surface. From the coronal process to the buccal part of the jaw, the pattern fades, on the outside it disappears completely. It is here that the deformation zone of the compacts is fixed on an area of 130x70 mm. The surface in this area is "wavy", which may be a consequence of planing it with a knife with a relatively long working edge in order to remove bulges (Fig. 3, 4).

In the area of the epiphysis neck, we noted a small artificial depression. A knife with a sharp working edge was used to remove bone material. The action of the tool was unidirectional in nature with periodic sampling of excess material from the resulting groove by pricking it out (Fig. 3, 5). The left part of the jaw with the currently lost crown and articular processes does not bear traces of human mechanical action.

In the course of experiments on the use of the artifact as a musical instrument, relatively low muffled sounds were obtained that were monotonous in tone.

Lower jaw of the mammoth N 2. It belonged to an adult. The bone is well preserved, the color is yellow-gray. On the jaw there is no chin protrusion, coronal and partially articular processes. The dark red ochre painting is clearly visible under the coronal process of the right half of the jaw and slightly lower, extending to the buccal part towards the chin protrusion. Here, the ornament is visible only in certain areas and does not connect in a clearly distinguishable composition. In the articular process, it manifests itself more clearly. In the area of the masticatory fossa, five parallel horizontal stripes are clearly visible, with another five or six poorly distinguishable lines running from the bottom. The ochre spots (approximately 25.3 x 10.0 mm) on the lower part of the buccal arches that we have identified and not described by S. N. Bibikov are presumably traces of the jaw resting on the painted surface (Fig. 3, 6, 7).

The bone shows traces of artificial deformation of the surface, presumably resulting from planing. It is difficult to determine their nature and functional purpose of the actions performed, since these areas are covered with a layer of restoration and conservation composition (Fig. 3, 8).

The results of experiments on extracting sounds from an artifact are the same as in the previous case.

A hammer made from reindeer antler. It is found in the southwest corner of square 24 near the ornamented bones. The hammer is made of an L-shaped segment

4. Traces of using a hammer (1-6) and a mallet (7, 8) made of deer antler. 1 - traces of material sampling in the middle part of the product; 2-parallel notches on the surface of the handle; 3 - crumpling of the spongy structure of the horn; 4 - flattening of the working area; 5, 6-polishing zones in the middle (5) and end (6) parts of the handle; 7 - bone deformation in the "working area"; 8 - traces of sampling of the porous part of the horn on the back of the product.

horns, the long part of which served as a handle. It is slightly curved and compacted. The working part protruding on both sides of the handle is located almost at right angles to it (104° - internal, 124° - external). Well-defined traces of harmony, clogging of the impact pad are recorded only on one side of the working rod.

On the surface of the handle there is an ochre spot measuring 39.17 x 12.46 mm. Parallel incisions of 22.7 and 24.4 mm in length are marked in the breakage zone; the preservation is poor, and it is not possible to determine the tool used to make them (Figs. 4, 2). It is likely that these incisions were ornamental in nature. There are rather deep (2.23 - 3.22 mm) and wide (10.22 - 13.22 mm) caverns selected by the chisel in the joint area between the handle and the impact part (Volkov, 2013, pp. 107-108) (Fig. 4, 1).

On the working part of the hammer, the smoothness of the edges of the impact pad and the characteristic crumpling of the spongy mass of the horn are noted. The area of contact of the tool with a relatively hard structure (bone, wood) is a flattened, slightly polished surface with linear micro-traces, which allows us to characterize the product as a percussion instrument (Fig. 4, 3, 4). We did not find any linear traces that characterize the use of a hammer for crushing and grinding. With complete confidence, we can say that it was not used for grinding ochre or other coloring matter.

During the experimental study, we came to the conclusion that the object could be used as a hammer in two ways: in the first case, from the center of the impact surface to the point of maximum convexity of the handle 142 mm, in the second - 159 mm. This assumption is confirmed by the presence on the handle of two zones of contact with human hands, which left characteristic traces of polishing on the bone surface (Fig. 4, 5, 6).

A beater made from the antler of a giant deer. Violations of the natural state of the bone surface were found on the object. In particular, there are possible traces of handle accommodation. The characteristic smoothness and deformation in the "working area" indicate the contact of this percussion instrument with a relatively soft material (Fig. 4, 7). On the back of the product used as a hammer, there are traces of sampling of the porous part of the horn

4, 8). The spongy substance was removed using a sharp cutting tool.

The "noisy" bracelet. It was found near the southern border of square 25 near an ornamental mammoth femur. The bracelet consists of five insulated plates made of mammoth tusk (Fig. 5, 1). The bone color is light yellow. The technology of manufacturing plates is not clear due to poor surface preservation. The inner axis of the oval is 43.25 mm, the outer axis is 86.18 mm.

Figure 5. "Noisy" bracelet.

1 - general view; 2-hole in the plate; 3-traces of unfinished work when drilling a hole; 4-cut ornament.

At the ends of the plates there are drilled holes where the connecting thread was threaded. Three of them are clearly distinguishable. They are located about 3 mm from the edge of the plate. In the course of the tracological study, it was found that the hole was worked with a screwdriver [Volkov, 1999, p.23], the working stroke of which was less than 180°. The drilling channel is conical (diameter at the inlet is 1.68 mm, at the outlet-0.5 mm), the walls are not smoothed. At the final stage of working with the hole, its edge was flared using a cutting tool (Fig. 5, 2). On one part of the bracelet there is a recess of uneven outlines (Fig. 5, 3). Drilling was performed with the same screwdriver, but not completed.

Each plate on the front side is decorated with a "Christmas tree" ornament, made with rather deeply cut lines. Before processing, the tusk was apparently steamed, which allowed the pattern to be applied with a sharp object such as a chisel. In the center of each section of the ornament is a meander spiral or rhombic figure. Opposite chevrons are cut out to the right and left of it. The application of the ornament began with cutting four concentric rhombuses (Figs. 5, 4). Their angles are approximately 90-93°. The dimensions of the sides are equal (sequentially, starting from the outer one) to 7.13; 6.20; 5.06; 2.37 mm. A number of researchers have suggested ways to interpret the ornament (Bader, 1972; Frolov, 1975; Larichev, 2000; et al.).

The diameter of the bracelet could increase at the time of putting it on the wrist due to the springy wiring of the ends of the plates by 20-30 mm, reaching 80-90 mm. This size corresponded to the small hand of a man of graceful build. Experimental research of the artifact as a musical instrument is impossible due to its poor preservation and fragmentation, but similar products used as castanets in traditional culture are well known.

An interesting fact is that the average weight of items of the "mobile group" of the Mezinsky complex is within 1 - 2 kg (hammer, mallet), and the "stationary" one - 10-13 kg (scapula, femur, jaw, pelvic fragment). We can assume that there are certain requirements for mobile and stationary elements of the orchestra.

Conclusion

A detailed study of the objects of the Meza complex on five specimens (scapula, femur, pelvic fragment, two lower mammoth jaws) revealed local areas with obvious violations of the natural state of the surface. They are recognized by various signs and are expressed in

varying degrees. These traces can be divided into three main groups. The first group includes violations of the integrity of the surface layer of bone, compacts. In such cases, the densification of the bone substance, the smoothness of the natural relief, the "harmony" of the upper layer of the compact, and its thinning are recorded. Such "working" areas on the bones are noticeably different from the surrounding intact natural planes. The second group includes surface polishing, sometimes to a mirror-like shine. A high degree of overgrowth of individual areas was noted. The third group consists of mechanical injuries that have appeared as a result of using objects, for example, abrasion of the edges, violation of the natural state of the spongy substance, detachment of the compacts from the internal spongy structure of the bone, etc. In most cases, the zones of deformation of the surface layers of compacts that appear as a result of regular impact impacts on the bone surface are associated with ornamented planes.

Our experiments on extracting sounds from the examined objects with the help of fingers gave good results: we obtained clear sounds of various heights, tones, and muted tones, which are also distinguishable in the musical recording of an experimental orchestra.

Thus, with a high degree of confidence, we can say that we are looking at a complex of musical objects. Both stationary (scapula, femur, pelvic fragment, two mammoth jaws) and mobile (hammer, mallet, "noisy" bracelet) tools are presented. Numerous shells that accompanied the Mezinsky ensemble could serve as hanging ornaments, which also created a certain sound background. Tracological analysis of the shells of marine mollusks collected within square 25 showed that no more than a third of them were artificially perforated.

The results of our research mostly indicate the use of objects from the Mezinsky complex as phono instruments. Using the modern classification of percussion - type musical instruments, these items can be attributed to a subgroup of non-tunable-percussion, self-sounding, resonator (femur, jaw) and non-resonator (scapula, mallet, bracelet). The appearance of percussive-rhythmic musical instruments in Eurasia during the Paleolithic period is currently proven (Morley, 2003). In a general context, Mezinsky phono instruments complement the complex picture of the formation and development of musical culture and communication abilities of Paleolithic man.

Acknowledgements

The authors thank the staff of the Archaeological Museum of the Institute of Archeology of the National Academy of Sciences of Ukraine, who kindly provided the collection for research.

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The article was submitted to the editorial Board on 05.03.13, in the final version-on 25.03.13.

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