Among the measures taken was a thorough analysis of the music-related finds stored in several facilities in Mexico, Sweden, and Germany. It was discovered that many different instruments have been employed in Teotihuacan, some of which were widely used all over the site, while others were used only in particular areas and also in more exclusive and restrictive contexts, such as priestly activities. By additionally taking into account the music iconography in Teotihuacan art, the particular configuration of a complex music culture was uncovered. It was noted that the original sound artefacts are mostly broken and in unplayable condition, while other instruments are not preserved and only shown in art. The survey of the music-related finds was followed by the production of a series of replicas/reconstructions of the full array of Teotihuacan musical instruments, according to their original materials, morphology, design, and construction techniques. In the next step, the instruments were sounded by applying different playing techniques, musical improvisations were performed, and the acoustic properties were measured. Among others, it was discovered that some of the instruments, such as the so-called quadruple flutes and whistling vessels, are highly complex in terms of their particular construction technique and morphological design, reflecting a wish for the creation of very special sounds only to be produced on hand of these particular instrument types. The knowledge of such instruments, which are incomparable to those of other contemporary pre-Columbian cultures, has been also exported to societies abroad, revealing cultural influences of Teotihuacan on the musical level. This means that the culture developed a particular sonic aesthetics, distinct to the aesthetics of contemporary cultures, such as the Maya. Professional recordings of original, playable instruments were made in museum environments, as well as recordings of the replicas/reconstructions in both studio environments and on-site. In addition, the sonic properties of the main preserved archaeological structures of Teotihuacan were recorded on-site. The first scientific results of the project were published in a series of articles on the Teotihuacan instrument organology and acoustics, and shared in workshops and papers on international conferences, seminars and lectures in Europe and the Americas. Also, an elaborate interactive website was created, which synthesizes the scientific results of the project, and makes many of the sound recordings available. In addition, a sample pack of the Teotihuacan sounds has been compiled and can be downloaded for free, and a YouTube channel features videos on project activities. For the general public, the project was featured worldwide in magazines, such as The Economist, and in radio features, such as for the BBC World Service - Cultural Frontline. Finally, a selection of the recordings of the musical improvisation and Teotihuacan soundscapes was used for the design and implementation of the TVSM soundwalk, a virtual sound exhibition, accessible for the visitors of the world heritage site.
