The term “archaeoacoustics” simply means the study of sound in archaeological contexts. There are two basic ways this can be done, by exploring natural sounds and acoustics at monuments and other sites, or by investigating and measuring the acoustic parameters of a place by use of electronic instrumentation.

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There are many theories about, and issues relating to, the contemporary, historic, and prehistoric uses of Stonehenge. Many of them relate to ritual use of various kinds. Ritual use would be likely to involve music, or at the very least would involve the use of sound. Nettl describes the association of music and ritual as universal, describing, The importance of music in ritual, and, as it were, in addressing the supernatural. This seems to me to be truly a universal, shared by all known societies, however different the sound. Another universal is the use of music to provide some kind of fundamental change in an individual’s consciousness, or in the ambiance of a gathering… And it is virtually universally associated with dance; not all music is danced, but there is hardly any dance that is not in some sense accompanied by music. One problem with existing archaeoacoustics methodologies is the nature of what currently exists at Stonehenge. Even if one sets aside the considerable reconstruction carried out at Stonehenge during the 19th and 20th Centuries, the site is a collapsed remnant of the site that existed in prehistory. One approach to studying the acoustics of Stonehenge is to undertake acoustic field measurements of the current site. Useful though this is, it does not tell whole story.