Probably, but it is tough to overcome the 2500 years differences in our mindset.
Yes and the work of John Kenny is really well known (he made several music albums with carnyx sounds and he is playing it for decades now). But he is an artist and not a historian nor an archeologist.
For example, let's talk about one big problem in his view. First, he defends the idea that the carnyx must have an ending tube with an angle to play it vertically. It is not necessary the case since the carnyxs of Tintignac didn't have this feature. The carnyx of Deskford have no tube at all and he used this lack of information to add this feature (and some experts dispute that the find of Deskford it is a carnyx). Secondly, he says that the most famous carnyx of Tintignac should have been played horizontally or diagonally because of this lack of feature. But the thing is: he is a musician, his passion is to play hours. Mostly in landscapes or in modern theaters. Therefore, he put his own comfort in the first position to build his opinion, which is questioning is mindset and methodology. While maybe the visibility in a crowd should have been the most important point during the Iron Age. His point is not defendable, we cannot say that the object couldn't have been played vertically.
Thus he is not really trying to reenact anything historical. He wants to appropriate the object and to include it in his art. This is not a problem, I love that the thing is still alive in the modern culture. But we should keep this aspect in mind. He have a different approach than the O'Dwyer with the prehistoric instruments of Ireland. John Kenny is doing so many different sounds with his carnyx that it is necessary to filter what sounds really too modern.
Edit:
@Sundiata An example of purely mystical and military use instrument: https://gizmodo.com/hear-the-aztec-death-whistle-that-mystified-scientists-1827876126
Edit2:
“For there were among them such innumerable horns and trumpets, which were being blown at the same time from all parts of their army, and their cries were so loud and piercing, that the noise seemed to come not from human voices and trumpets, but from the whole countryside at once”. (Polybius, Histories, II, 29)
“Their trumpets again are of a peculiar barbarian kind; they blow into them and produce a harsh sound which suits the tumult of war.” (Diod. Sic. V, 30)