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This article examines the process of development of musical culture; the evolution of the functional features of a musical instrument (production, cult, aesthetic); the gradual allocation of a musical instrument from among ancient syncretic sound production and magic complexes and its formation as a professional instrument; the influence of the natural environment on the sound palette; the birth and realization of the specific role of music characterized by the spatiality of the sound stream and influencing the formation of worldviews and culture. The article proves the necessity of studying petroglyphs as a sign system, as the initial stage in the formation of musical art.

The purpose of this study is to discuss the problem of meta-poetic themes in the Divine Comedy, focusing in particular on the relationship between God's art and Dante's art in the context of the impression caused by the sight of the rock reliefs in the cornice of the proud in the Purgatorio, where the poet, presenting and imitating the art of God, in fact shows the mastery of his own art. The analysis leads to the conclusion that the examples of humility and pride carved on the walls and the rock path - the perfect work of God-the Artist, vibrant with life and called by Dante visibile parlare - are, on the one hand, a mise en abyme of its macroscopic version, which is the Universe created by him, and, on the other hand, a mise en abyme of the universe narrated with the simile perfection by Dante. [ABSTRACT FROM AUTHOR]

In this paper I'trying to show that there is a relationship between rock art, a site where rock art is placed and the wider landscape, articulated according to the Camunian "mindscape" in Valcamonica, Italy. In particular, I believe rock art may be regarded, making Lødøen's felicitous phrase my own, as a 'consumption of souls' within an animistic understanding of the world. I think the importance of mining copper and iron in relation to petroglyphs in Valcamonica has been underestimated so far, and I have tried to show its strong symbolic relationships. I believe I have made quite clear the symbolical connections between a certain type of landscape, a gulch with a strong hydrocentric focus, thundering noises, mining, metallurgy and deer, thanks to linguistic analysis, which shows how the same kind of landscape and similar mythologies can be found over an extremely wide territory. We do not know what the religious beliefs of the ancient Camunians were, similarities with neighboring populations aside, but linguistic analysis, anthropological as well as archaeological comparison and the study of both local folklore and archaic Aegean beliefs, allows us to hypothesize a more detailed picture of the Camunian thought in the Iron Age. [ABSTRACT FROM AUTHOR]

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The article is an attempt of interpretation of the petroglyphs in Cave in the vicinity of Trnovo spring or Iapods’ cave. The anthropomorphic figure (archer/horseman) and the circles with the crossed lines inside are compared to other cases of rock art. A step forward of the analysis is the comparative study of ritual caves with phallic stalactites in the surroundings and the analysis of its mythical landscape.