102:
606:
2654:
2664:
765:(d. 1712). He is credited with devising essentially a brand-new instrument, one which borrowed several features from the shawm, chiefly its double reed and conical bore, but departed from it significantly in other respects, the most important departure being the fact the player places his lips directly on the reed with no intervening pirouette. Around 1670, the new French
1336:
406:
38:
742:
which has the outward appearance of a capped shawm with four keys, but in fact conceals a mostly cylindrical bore. (The range of the bassett: nicolo descended to the A below great C and was just over four feet in length; a shawm of this range, i.e., with a conical bore, would require more than 9 feet
796:
The 16th-century proclivity for building instruments in a full range of sizes was naturally extended to the shawm, but the extreme length of pipe of the bass instruments meant that few were built and played, due to their cumbersome size. A solution was devised whereby the bore was in effect "folded
1020:
The single reed or clarinet mouthpiece was known to other ancient peoples, and I should not venture to assert that it was not known to the Greeks. But the evidence of both art and literature indicates that it was the double reed that was standard in the
Classical period. Under the Hornbostel-Sachs
823:
in Spain. The dulcian, like the first oboes, employed direct lip-to-reed contact, which allowed for much greater control over the sound than was offered by shawms. This led to the dulcian becoming very popular, serving as a bass both to the other shawms and even to indoor ensembles that did not
262:
1025:
should be classified as an oboe. It must be admitted that 'oboe-girl' is less evocative than the 'flute-girl' to which classicists have been accustomed, and that when it is a question of translating Greek poetry 'oboe' is likely to sound odd. For the latter case I favor 'pipe' or
218:, and four- and five-part music could be played by a consort consisting entirely of shawms. All later shawms (excepting the smallest) have at least one key allowing a downward extension of the compass; the keywork is typically covered by a perforated wooden cover called the
771:
began replacing the shawm in military bands, concert music and opera; by 1700, the shawm had all but disappeared from concert life, although as late as 1830 shawms could still be heard in German town bands performing their municipal functions. Curiously, the
Germans and
674:, instrument historians had been puzzled by references to "still shawms", or "soft" shawms, that were said to have a sound that was less shrill than earlier shawms. The still shawm disappeared from the musical scene in the 16th century; the instrument found on the
623:
By the early 16th century the brash tonality of the medieval shawm had been modulated by a narrowing of the bore and a reduction in the size of the fingerholes. This also extended the range, enabling the performer to play the notes in the second
386:, also shares this etymology.) The early plural forms were often mistaken for a singular, and new plurals were formed from them. The later reduction in the 15th and 16th centuries to a single syllable in forms such as
267:
264:
263:
2232:
710:. Accompanied by a drum, the chirimia is frequently used in processions and in certain ritual dances, such as the Dance of the Conquest (Baile de la Conquista), and this is still played today.
266:
693:
were preferred. These were double reed instruments fitted with a capsule that completely enclosed the reed, which softened the sound but still did not allow for any variation in dynamics.
253:
and flaring bell, combined with the style of playing dictated by the use of a pirouette, gives the instrument a piercing, trumpet-like sound, well-suited for outdoor performances.
249:
Since only a short portion of the reed protrudes past the pirouette, the player has only limited contact with the reed, and therefore limited control of dynamics. The shawm's
232:
cane used for oboes and bassoons, is inserted directly into a socket at the top of the instrument, or in the larger types, on the end of a metal tube called the
682:, it provides a "very effective bass part" that would have produced "rich and full sound, which would have provided excellent music for dancing on board ship".
653:, who were required to herald the start of municipal functions and signal the major times of day. The shawm became so closely associated with the town waits (
265:
1912:
1383:
242:, a small wooden attachment with a cavity in the center resembling a thimble, surrounds the lower part of the reed—this provides support for the lips and
732:
II (1619), pages 23 and 36, but was not illustrated. Praetorius does, however, illustrate in Plate 13 in the supplementary volume of illustrations, the
1347:
Video of a band in
Germany in Lubeck 2017 playing "shawms"; the Germans call this instrument a "Schalmei". Definitely will bring a smile to your face!
2693:
1413:
1214:
101:
547:, as the European shawm seems to have been developed from similar instruments brought to Europe from the Near East during the time of the
2698:
2688:
1312:
1253:
1076:
1049:
1013:
45:
2703:
2457:
2187:
634:, two octaves and a major third below the soprano in D. However, the larger sizes were unwieldy, which made them somewhat rare.
1905:
206:
The body of the shawm is usually turned from a single piece of wood, and terminates in a flared bell somewhat like that of a
451:
nations: in Spain, many traditional shawms with different names can be found, such as the
Castilian, Aragonese, and Leonese
645:, and the majestic sound of this ensemble was much in demand by civic authorities. The shawm became standard equipment for
2157:
1930:
943:
905:
685:
The shawm was reserved almost exclusively for outdoor performance—for softer, indoor music, other instruments such as the
211:
2467:
1808:
1282:
2512:
2657:
2560:
2375:
1898:
180:. Double-reed instruments similar to the shawm were long present in Southern Europe and the East, for instance the
788:. Several examples of this instrument survive in European collections, although its exact musical use is unclear.
2497:
2342:
2212:
1406:
1307:, third edition, reprinted with corrections 1977, with a foreword by Sir Adrian Boult. London: Faber & Faber
1239:
1113:
637:
The smaller sizes of shawm, chiefly the soprano, alto and sometimes the tenor, were more often coupled with the
2606:
605:
551:. This Arabic name is itself linguistically related to many other Eastern names for the instrument: the Arabic
797:
back" upon itself, creating a much more manageable instrument. The new instrument is often referred to as the
447:) This is borne out by the very similar names of many folk shawms used as traditional instruments in various
376:
2637:
2482:
2395:
2370:
2069:
1118:
142:
2667:
2644:
2621:
2616:
2252:
2137:
2016:
1200:
867:
238:
2487:
2385:
2177:
1245:
173:
106:
2132:
2262:
1669:
1399:
901:
156:
from the 12th century to the present day. It achieved its peak of popularity during the medieval and
2380:
2064:
2059:
2011:
1828:
1719:
1459:
1093:
485:
181:
149:
2663:
1709:
2575:
2555:
2530:
2520:
2472:
2352:
2327:
2312:
2302:
2297:
2267:
2044:
2006:
1946:
1509:
1340:
1316:
957:
723:
679:
678:
is the only surviving example. A reproduction has been made and played. Combined with a pipe and
57:
2337:
279:
the name first appears in the 14th century. There were originally three main variant forms, (1)
874:
theatre performances. It is also strongly associated in popular culture with street vendors of
824:
feature shawms, afforded by its ability to play quietly. The dulcian was the forerunner to the
2611:
2360:
2272:
2227:
2114:
2099:
2026:
1996:
1961:
1938:
1921:
1739:
1729:
1679:
1308:
1249:
1220:
1210:
1045:
1039:
1009:
762:
1126:
999:
718:
A tenor shawm in C with a single key , with a range of a perfect twelfth, was described as a
2535:
2477:
2365:
2287:
2242:
2197:
2172:
2167:
2122:
2089:
2084:
2049:
1991:
1966:
1524:
728:
411:
276:
185:
124:
2565:
2550:
2492:
2462:
2332:
2282:
2217:
2207:
2162:
2152:
2147:
2142:
2104:
2034:
1956:
1951:
1734:
1529:
1494:
1005:
918:
650:
531:
420:
165:
1469:
1156:, edited by Alberto Basso, (12+2 volumes), Il lessico—vol. I, Torino, UTET, 1983, p. 550.
1704:
2570:
2545:
2502:
2277:
2247:
2192:
2182:
2054:
2039:
1981:
1971:
1879:
1848:
1607:
1597:
1433:
937:
863:
610:
316:
169:
2682:
2525:
2411:
2317:
2307:
2202:
2094:
2079:
1813:
1544:
1514:
1377:
1372:
1072:
491:
468:
1351:
1209:. Publications of the Early Music Institute. Bloomington: Indiana University Press.
2601:
2540:
2431:
2390:
2257:
2127:
2001:
1833:
1622:
1534:
1454:
1361:
888:
773:
752:
646:
366:
250:
228:
1107:
558:
2596:
2591:
2322:
2292:
2074:
1986:
1976:
1767:
1519:
1484:
1474:
1422:
1272:, corrected edition (The Norton Library N758) (New York: W. W. Norton, 1975): 90
1144:, corrected edition (The Norton Library N758) (New York: W. W. Norton, 1975): 58
962:
703:
638:
459:
157:
146:
110:
50:
405:
2426:
2416:
1858:
1803:
1724:
1572:
332:
243:
215:
1224:
2436:
1689:
1577:
1539:
1479:
1286:
707:
690:
670:
383:
1823:
1346:
1204:
870:, or possibly Iberian traders in the 16th century. It is sometimes used in
1391:
1335:
985:
2421:
1874:
1818:
1772:
1602:
1587:
1582:
1499:
1489:
1437:
922:
698:
686:
548:
496:
453:
210:. Beginning in the 16th century, shawms were made in several sizes, from
177:
17:
1838:
1744:
1684:
1643:
1617:
1592:
1504:
953:
947:
927:
825:
798:
642:
223:
207:
2441:
1843:
1798:
1757:
1714:
1648:
1612:
871:
758:
625:
593:
448:
443:
153:
86:
71:
1890:
1699:
1178:
Charles Foster "Wind
Instruments", in Gardiner (2005), pp. 240–241.
402:, was probably due to this confusion of plural and singular forms.
1853:
1793:
1777:
1762:
1752:
1674:
1653:
1562:
1022:
966:
931:
875:
668:
Before the discovery of a still shawm aboard the shipwreck of the
604:
575:
569:
563:
544:
506:
404:
260:
233:
200:
196:
192:
188:
100:
91:
81:
76:
66:
37:
1567:
1464:
1356:
1154:
Dizionario enciclopedico universale della musica e dei musicisti
776:
continued to manufacture an ornate version of the shawm, called
326:
320:
310:
304:
298:
292:
286:
280:
161:
1894:
1395:
628:. Larger sizes of shawm were built, down to the great bass in B
354:
348:
342:
336:
1694:
878:, who played a distinctive melody on it to attract customers.
130:
1376:
866:
descended either from shawms brought to Japan by
Portuguese
1366:
530:
However, it is also possible that the name comes from the
127:
1203:(2012). Carter, Stewart; Kite-Powell, Jeffery T. (eds.).
956:, a similar instrument from Italy which is still used in
702:, the shawm remains an important ritual instrument among
435:—also in English in the 14th century—later corrupted to
988:—from the Diabolus in Musica Guide to Early Instruments
463:, a term that derives from the same Old French word as
382:(The name of a somewhat different reed instrument, the
160:
periods, after which it was gradually eclipsed by the
665:
in
Italian) that it was also known as the wait-pipe.
552:
534:
2584:
2511:
2450:
2404:
2351:
2226:
2113:
2025:
1937:
1867:
1786:
1662:
1636:
1553:
1445:
586:
133:
56:
44:
1106:
1067:Anthony C. Baines and Martin Kirnbauer, "Shawm ",
1206:A performer's guide to seventeenth-century music
965:, a shawm-type instrument used in folk music in
500:
331:), each derived from a corresponding variant in
1142:Musical Instruments: A Comprehensive Dictionary
1069:The New Grove Dictionary of Music and Musicians
887:Instruments of the Middle Ages and Renaissance—
828:, which like the oboe was a Baroque invention.
375:. Calamus, in turn, derives from Ancient Greek
855:
842:
580:
1906:
1407:
862:, is a double-reed instrument in traditional
818:
812:
660:
522:
516:
510:
478:
472:
8:
1387:(11th ed.). Cambridge University Press.
806:
783:
782:, well after the introduction of the French
777:
766:
654:
436:
430:
424:
30:
1044:. Greenwood Publishing Group. p. 276.
896:(The Mayor of Lincoln's own Band of Musick)
733:
370:
360:
1913:
1899:
1891:
1414:
1400:
1392:
751:The shawm inspired the later 17th-century
1238:Burgess, Geoffrey; Haynes, Bruce (2004).
429:(or for the larger members of the family
1096:(Oxford: Oxford University Press, 2002).
1063:
1061:
978:
359:), each in turn derived from the Latin
271:Pipita and Zampogna in Calabria (Italy)
1305:Woodwind Instruments and Their History
1187:
226:-like double reed, made from the same
105:Shepherd playing the shawm (1646), by
29:
1436:and sextuple reeds; does not include
1079:(London: Macmillan Publishers, 2001).
891:and The Early Music Consort of London
7:
1270:Musical Instruments: A yo Dictionary
1127:participating institution membership
398:, and finally (in the 16th century)
164:family of descendant instruments in
441:and finally in the 17th century to
1165:Jermy Montagu "Music on Board the
1041:Daily Life in the Byzantine Empire
543:), a traditional oboe from
25:
1315:. Unaltered reprinted, New York:
1169:", in Gardiner (2005), pp. 226–30
2662:
2653:
2652:
2188:Giovanni Pierluigi da Palestrina
1334:
1285:. April 14, 2009. Archived from
998:West, Martin L. (January 1992).
738:(1620), along with crumhorns, a
123:
36:
168:. It is likely to have come to
27:Double-reed woodwind instrument
2694:Single oboes with conical bore
499:there is an instrument called
1:
1931:List of Renaissance composers
1090:The Oxford Companion to Music
906:Piffaro, The Renaissance Band
613:
1071:, second edition, edited by
946:, a similar instrument with
609:Woman playing a bass shawm (
587:
553:
535:
2720:
2561:Petrus Phalesius the Elder
2376:English Virginalist School
1475:Cor anglais (English horn)
1432:(also includes those with
1088:Jeremy Montagu, "Shawm ",
817:in Germany and Italy, and
696:Known by the Spanish term
2699:Swiss musical instruments
2689:Early musical instruments
2632:
2343:Jan Pieterszoon Sweelinck
1928:
1430:
1114:Oxford English Dictionary
856:
843:
540:
379:(kálamos), "reed, cane".
63:
35:
1038:Rautman, Marcus (2006).
2704:Double-reed instruments
2371:English Madrigal School
1384:Encyclopædia Britannica
1303:Baines, Anthony. 1967.
1283:"Lincoln Waites - Home"
1119:Oxford University Press
1021:system, therefore, the
894:City of Lincoln Waites
735:Theatrum instrumentorum
355:
349:
343:
337:
327:
321:
311:
305:
299:
293:
287:
281:
176:around the time of the
2213:Tomás Luis de Victoria
2017:Oswald von Wolkenstein
868:Christian missionaries
819:
813:
807:
784:
778:
767:
757:, an invention of the
734:
661:
655:
620:
581:
523:
517:
511:
505:; and the name of the
501:
479:
473:
437:
431:
425:
416:
415:by Michael Praetorius)
371:
361:
315:, all plural forms in
272:
191:, the closely related
114:
2233:Transition to Baroque
2178:Pierre de Manchicourt
1352:The Renaissance Shawm
1246:Yale University Press
940:or "shepherd's shawm"
934:shawm-type instrument
608:
467:); the Valencian and
408:
270:
174:Eastern Mediterranean
104:
2263:Girolamo Frescobaldi
2070:Cristóbal de Morales
1868:American traditional
1787:European traditional
1343:at Wikimedia Commons
1201:Jeffery, Kite-Powell
986:The Shawm and Curtal
714:Progeny of the shawm
423:the shawm is called
107:Jan Baptist Wolffort
2381:Florentine Camerata
2353:Composition schools
2012:Gaspar van Weerbeke
1637:African traditional
1460:Piccolo heckelphone
1357:Dolçaina valenciana
1117:(Online ed.).
1001:Ancient Greek Music
900:Many recordings by
882:Modern performances
489:) or the Navarrese
199:, and the Armenian
150:woodwind instrument
58:Related instruments
32:
2576:Thomas Vautrollier
2556:Ottaviano Petrucci
2531:Pierre Attaingnant
2521:Hieronymus Andreae
2328:Michael Praetorius
2313:Claudio Monteverdi
2303:Giovanni de Macque
2298:Luzzasco Luzzaschi
2268:Alfonso Fontanelli
2158:Francisco Guerrero
2133:Antonio de Cabezón
2045:Thomas Crecquillon
2027:Middle (1470–1530)
2007:Johannes Tinctoris
1947:Alexander Agricola
1554:European classical
1510:Semi-contrabassoon
1446:European classical
1317:Dover Publications
958:Italian folk music
724:Michael Praetorius
621:
457:(sometimes called
417:
273:
115:
2676:
2675:
2273:Giovanni Gabrieli
2100:Philippe Verdelot
1997:Johannes Ockeghem
1939:Early (1400–1470)
1922:Renaissance music
1888:
1887:
1663:Asian traditional
1339:Media related to
1244:. New Haven, CT:
1216:978-0-253-35706-9
1125:(Subscription or
902:Blackmore's Night
801:, and was called
779:deutsche Schalmey
763:Martin Hotteterre
743:of bore length.)
369:diminutive form,
365:('reed'), or its
268:
99:
98:
16:(Redirected from
2711:
2666:
2656:
2655:
2536:Vittorio Baldini
2513:Music publishing
2288:Hans Leo Hassler
2243:Gregorio Allegri
2198:Cipriano de Rore
2173:Vicente Lusitano
2168:Orlando di Lasso
2123:Jacques Arcadelt
2090:Pierre de la Rue
2085:Josquin des Prez
2065:Clément Janequin
2060:Antoine de Févin
2050:Antonius Divitis
1992:Johannes Martini
1967:Guillaume Du Fay
1915:
1908:
1901:
1892:
1525:Contrabassophone
1416:
1409:
1402:
1393:
1388:
1380:
1338:
1324:
1291:
1290:
1279:
1273:
1266:
1260:
1259:
1235:
1229:
1228:
1197:
1191:
1185:
1179:
1176:
1170:
1163:
1157:
1151:
1145:
1138:
1132:
1130:
1122:
1110:
1103:
1097:
1086:
1080:
1065:
1056:
1055:
1035:
1029:
1028:
995:
989:
983:
861:
859:
858:
848:
846:
845:
822:
816:
810:
787:
781:
770:
737:
729:Syntagma Musicum
664:
658:
656:die Stadtpfeifer
633:
632:
618:
615:
590:
585:, and the Hindu
584:
556:
542:
538:
526:
520:
514:
504:
482:
476:
440:
434:
428:
412:Syntagma Musicum
374:
364:
358:
352:
346:
340:
330:
324:
314:
308:
302:
296:
290:
284:
269:
140:
139:
136:
135:
132:
129:
40:
33:
21:
2719:
2718:
2714:
2713:
2712:
2710:
2709:
2708:
2679:
2678:
2677:
2672:
2649:
2641:
2628:
2580:
2566:Girolamo Scotto
2551:Antonio Gardano
2507:
2446:
2400:
2347:
2338:Heinrich Schütz
2333:Philippe Rogier
2283:Orlando Gibbons
2235:
2231:
2222:
2218:Giaches de Wert
2208:Christopher Tye
2163:Claude Le Jeune
2153:Claude Goudimel
2148:Nicolas Gombert
2143:Andrea Gabrieli
2138:Jacobus Clemens
2109:
2105:Adrian Willaert
2035:Martin Agricola
2021:
1957:Antoine Busnois
1952:Gilles Binchois
1933:
1924:
1919:
1889:
1884:
1863:
1782:
1658:
1632:
1555:
1549:
1530:Reed contrabass
1495:Contrabass oboe
1447:
1441:
1426:
1420:
1371:
1331:
1322:
1300:
1295:
1294:
1281:
1280:
1276:
1268:Sibyl Marcuse,
1267:
1263:
1256:
1237:
1236:
1232:
1217:
1199:
1198:
1194:
1186:
1182:
1177:
1173:
1164:
1160:
1152:
1148:
1140:Sibyl Marcuse,
1139:
1135:
1124:
1105:
1104:
1100:
1087:
1083:
1066:
1059:
1052:
1037:
1036:
1032:
1016:
1006:Clarendon Press
997:
996:
992:
984:
980:
975:
915:
884:
853:
840:
834:
794:
792:Dulcian/bassoon
749:
716:
630:
629:
616:
603:
579:, the Javanese
561:), the Turkish
353:(the plural of
261:
259:
166:classical music
126:
122:
28:
23:
22:
15:
12:
11:
5:
2717:
2715:
2707:
2706:
2701:
2696:
2691:
2681:
2680:
2674:
2673:
2671:
2670:
2660:
2642:
2638:Medieval music
2634:
2633:
2630:
2629:
2627:
2626:
2625:
2624:
2619:
2614:
2609:
2604:
2594:
2588:
2586:
2582:
2581:
2579:
2578:
2573:
2571:Tielman Susato
2568:
2563:
2558:
2553:
2548:
2546:Valerio Dorico
2543:
2538:
2533:
2528:
2523:
2517:
2515:
2509:
2508:
2506:
2505:
2500:
2495:
2490:
2485:
2480:
2475:
2470:
2465:
2460:
2454:
2452:
2448:
2447:
2445:
2444:
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2386:Franco-Flemish
2383:
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2278:Carlo Gesualdo
2275:
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2265:
2260:
2255:
2250:
2248:Thomas Campion
2245:
2239:
2237:
2224:
2223:
2221:
2220:
2215:
2210:
2205:
2200:
2195:
2193:Costanzo Porta
2190:
2185:
2183:Hans Neusidler
2180:
2175:
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2097:
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2077:
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2062:
2057:
2055:Costanzo Festa
2052:
2047:
2042:
2040:Antoine Brumel
2037:
2031:
2029:
2023:
2022:
2020:
2019:
2014:
2009:
2004:
1999:
1994:
1989:
1984:
1982:Heinrich Isaac
1979:
1974:
1972:John Dunstaple
1969:
1964:
1962:Loyset Compère
1959:
1954:
1949:
1943:
1941:
1935:
1934:
1929:
1926:
1925:
1920:
1918:
1917:
1910:
1903:
1895:
1886:
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1883:
1882:
1880:Trompeta china
1877:
1871:
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1846:
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1646:
1640:
1638:
1634:
1633:
1631:
1630:
1625:
1620:
1615:
1610:
1608:Oboe da caccia
1605:
1600:
1598:Hirtenschalmei
1595:
1590:
1585:
1580:
1575:
1570:
1565:
1559:
1557:
1551:
1550:
1548:
1547:
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1537:
1532:
1527:
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1431:
1428:
1427:
1421:
1419:
1418:
1411:
1404:
1396:
1390:
1389:
1375:, ed. (1911).
1373:Chisholm, Hugh
1369:
1364:
1359:
1354:
1349:
1344:
1330:
1329:External links
1327:
1326:
1325:
1323:Baines. 1991..
1320:
1299:
1296:
1293:
1292:
1289:on 2009-04-14.
1274:
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1230:
1215:
1192:
1180:
1171:
1158:
1146:
1133:
1098:
1081:
1057:
1050:
1030:
1014:
1008:. p. 84.
990:
977:
976:
974:
971:
970:
969:
960:
951:
941:
938:Hirtenschalmei
935:
925:
914:
911:
910:
909:
908:feature shawms
898:
892:
883:
880:
864:Japanese music
833:
830:
793:
790:
748:
745:
740:bassett:nicolo
715:
712:
659:in German and
611:Tobias Stimmer
602:
599:
573:, the Chinese
567:, the Persian
469:Catalan shawms
317:Middle English
258:
255:
170:Western Europe
97:
96:
95:
94:
89:
84:
79:
74:
69:
61:
60:
54:
53:
48:
46:Classification
42:
41:
26:
24:
14:
13:
10:
9:
6:
4:
3:
2:
2716:
2705:
2702:
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2690:
2687:
2686:
2684:
2669:
2665:
2661:
2659:
2651:
2650:
2647:
2646:
2645:Baroque music
2640:
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2631:
2623:
2620:
2618:
2615:
2613:
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2608:
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2554:
2552:
2549:
2547:
2544:
2542:
2539:
2537:
2534:
2532:
2529:
2527:
2526:Andrea Antico
2524:
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2430:
2428:
2425:
2423:
2420:
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2415:
2413:
2410:
2409:
2407:
2405:Musical forms
2403:
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2394:
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2329:
2326:
2324:
2321:
2319:
2318:Thomas Morley
2316:
2314:
2311:
2309:
2308:Luca Marenzio
2306:
2304:
2301:
2299:
2296:
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2240:
2238:
2234:
2229:
2225:
2219:
2216:
2214:
2211:
2209:
2206:
2204:
2203:Thomas Tallis
2201:
2199:
2196:
2194:
2191:
2189:
2186:
2184:
2181:
2179:
2176:
2174:
2171:
2169:
2166:
2164:
2161:
2159:
2156:
2154:
2151:
2149:
2146:
2144:
2141:
2139:
2136:
2134:
2131:
2129:
2126:
2124:
2121:
2120:
2118:
2116:
2112:
2106:
2103:
2101:
2098:
2096:
2095:John Taverner
2093:
2091:
2088:
2086:
2083:
2081:
2080:Jacob Obrecht
2078:
2076:
2073:
2071:
2068:
2066:
2063:
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2056:
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2018:
2015:
2013:
2010:
2008:
2005:
2003:
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1995:
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1968:
1965:
1963:
1960:
1958:
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1936:
1932:
1927:
1923:
1916:
1911:
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1904:
1902:
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1873:
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1870:
1866:
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1840:
1837:
1835:
1832:
1830:
1827:
1825:
1822:
1820:
1817:
1815:
1814:Catalan shawm
1812:
1810:
1807:
1805:
1802:
1800:
1797:
1795:
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1779:
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1526:
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1515:Contrabassoon
1513:
1511:
1508:
1506:
1503:
1501:
1498:
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1478:
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1473:
1471:
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1424:
1417:
1412:
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1405:
1403:
1398:
1397:
1394:
1386:
1385:
1379:
1378:"Shawm"
1374:
1370:
1368:
1365:
1363:
1360:
1358:
1355:
1353:
1350:
1348:
1345:
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1333:
1332:
1328:
1321:
1318:
1314:
1313:0-571-08603-9
1310:
1306:
1302:
1301:
1297:
1288:
1284:
1278:
1275:
1271:
1265:
1262:
1257:
1255:0-300-09317-9
1251:
1247:
1243:
1242:
1234:
1231:
1226:
1222:
1218:
1212:
1208:
1207:
1202:
1196:
1193:
1189:
1184:
1181:
1175:
1172:
1168:
1162:
1159:
1155:
1150:
1147:
1143:
1137:
1134:
1128:
1120:
1116:
1115:
1109:
1102:
1099:
1095:
1094:Alison Latham
1091:
1085:
1082:
1078:
1074:
1073:Stanley Sadie
1070:
1064:
1062:
1058:
1053:
1051:9780313324376
1047:
1043:
1042:
1034:
1031:
1027:
1024:
1017:
1015:0-19-814975-1
1011:
1007:
1003:
1002:
994:
991:
987:
982:
979:
972:
968:
964:
961:
959:
955:
952:
949:
945:
942:
939:
936:
933:
929:
926:
924:
921:, a shawm of
920:
917:
916:
912:
907:
903:
899:
897:
893:
890:
886:
885:
881:
879:
877:
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869:
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852:
839:
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827:
821:
815:
809:
804:
800:
791:
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780:
775:
769:
764:
760:
756:
755:
746:
744:
741:
736:
731:
730:
725:
722:according to
721:
713:
711:
709:
705:
701:
700:
694:
692:
688:
683:
681:
677:
673:
672:
666:
663:
657:
652:
648:
644:
641:trombone, or
640:
635:
627:
612:
607:
600:
598:
596:
595:
589:
583:
578:
577:
572:
571:
566:
565:
560:
555:
550:
546:
537:
533:
528:
525:
519:
513:
508:
503:
498:
494:
493:
488:
487:
481:
475:
470:
466:
462:
461:
456:
455:
450:
446:
445:
439:
433:
427:
422:
414:
413:
409:Shawms (from
407:
403:
401:
397:
393:
389:
385:
380:
378:
373:
368:
363:
357:
351:
345:
339:
334:
329:
323:
318:
313:
307:
301:
295:
289:
283:
278:
256:
254:
252:
247:
245:
241:
240:
235:
231:
230:
225:
221:
217:
213:
209:
204:
202:
198:
194:
190:
187:
183:
182:ancient Greek
179:
175:
171:
167:
163:
159:
155:
151:
148:
144:
138:
120:
112:
108:
103:
93:
90:
88:
85:
83:
80:
78:
75:
73:
70:
68:
65:
64:
62:
59:
55:
52:
49:
47:
43:
39:
34:
19:
2643:
2636:
2607:Architecture
2541:Jacob Bathen
2258:John Dowland
2128:William Byrd
2002:Leonel Power
1778:Zurna/Surnai
1627:
1623:Rauschpfeife
1568:Baroque oboe
1556:(historical)
1535:Sarrusophone
1470:Oboe d'amore
1455:Piccolo oboe
1382:
1304:
1298:Bibliography
1287:the original
1277:
1269:
1264:
1240:
1233:
1205:
1195:
1183:
1174:
1166:
1161:
1153:
1149:
1141:
1136:
1112:
1101:
1092:, edited by
1089:
1084:
1077:John Tyrrell
1068:
1040:
1033:
1019:
1000:
993:
981:
895:
889:David Munrow
850:
837:
835:
805:in England,
802:
795:
753:
750:
739:
727:
719:
717:
706:of Highland
704:Maya peoples
697:
695:
684:
675:
669:
667:
636:
622:
592:
574:
568:
562:
529:
490:
484:
464:
458:
452:
442:
418:
410:
399:
395:
391:
387:
381:
367:Vulgar Latin
274:
251:conical bore
248:
237:
229:arundo donax
227:
219:
205:
184:, and later
143:conical bore
118:
116:
2597:Renaissance
2592:Early music
2488:Netherlands
2468:Elizabethan
2323:Jacopo Peri
2293:Alonso Lobo
2253:John Cooper
2115:Late (1530)
2075:Jean Mouton
1987:Jean Japart
1977:Walter Frye
1768:Taepyeongso
1520:Contraforte
1485:Heckelphone
1425:instruments
1423:Double reed
1367:The Dulcian
1188:Baines 1991
963:Taepyeongso
639:Renaissance
617: 1500
322:sc(h)almuse
319:), and (3)
282:schallemele
158:Renaissance
147:double-reed
111:Rijksmuseum
51:Double reed
2683:Categories
2622:Philosophy
2617:Literature
2585:Background
2451:Traditions
2427:Magnificat
2417:Intermedio
2361:Burgundian
1859:Surma-horn
1725:Nadaswaram
1710:Kèn đám ma
1573:Bassanello
1129:required.)
973:References
647:town bands
524:cennamella
518:cialamello
512:ciaramella
372:calamellus
350:chalemeaux
333:Old French
328:schalmesse
306:shalemeyes
300:s(c)halmys
244:embouchure
220:fontanelle
216:great bass
2437:Offertory
2366:Colorists
2228:Mannerism
1690:Hichiriki
1578:Cornamuse
1540:Rothphone
1480:Bass oboe
1434:quadruple
1225:707212741
1167:Mary Rose
950:fingering
851:charumeru
838:charumera
832:Charumera
761:musician
708:Guatemala
691:cornamuse
676:Mary Rose
671:Mary Rose
662:I pifferi
509:shawm is
502:charamela
438:Bombhardt
384:chalumeau
312:chalemyes
257:Etymology
239:pirouette
212:sopranino
186:Byzantine
172:from the
2658:Category
2635: ←
2498:Portugal
2422:Madrigal
2396:Venetian
1875:Chirimía
1849:Tárogató
1819:Dulzaina
1773:Tangmuri
1603:Kortholt
1588:Crumhorn
1583:Cromorne
1545:Tromboon
1500:Tenoroon
1490:Lupophon
1448:(modern)
1438:bagpipes
1241:The Oboe
1026:'shawm.'
944:Hornpipe
923:Brittany
913:See also
785:hautbois
768:hautbois
754:hautbois
699:chirimia
687:crumhorn
631:♭
549:Crusades
536:salamiya
497:Portugal
480:dolçaina
460:chirimía
454:dulzaina
449:European
426:Schalmei
356:chalemel
344:chalemie
338:chalemel
288:shamulle
178:Crusades
152:made in
18:Skalmeja
2648:→
2478:Germany
2458:British
1839:Piffero
1834:Musette
1809:Bombard
1804:Birbynė
1749:Sundari
1745:Shehnai
1705:Kèn bầu
1685:Gyaling
1670:Balaban
1644:Algaita
1618:Rackett
1593:Dulcian
1505:Bassoon
1319:, 1991.
1108:"Shawm"
954:Piffero
948:bagpipe
932:Tibetan
928:Gyaling
919:Bombard
826:bassoon
814:fagotto
799:dulcian
726:in his
643:sackbut
588:sahanai
507:Italian
474:xirimia
432:Bombard
388:schalme
377:κάλαμος
362:calamus
297:), (2)
294:shamble
277:English
224:bassoon
208:trumpet
141:) is a
109:(Dutch
2668:Portal
2493:Poland
2473:France
2463:Cyprus
2442:Pavane
2236:c.1600
1844:Sopila
1829:Gralla
1824:Graïle
1799:Bifora
1758:Sralai
1720:Mizmar
1715:Kuzhal
1649:Rhaita
1613:Pommer
1341:Shawms
1311:
1252:
1223:
1213:
1048:
1012:
904:, and
872:kabuki
808:fagott
803:curtal
759:French
720:nicolo
626:octave
594:sanayi
582:saruni
570:surnāy
541:سلامية
532:Arabic
486:gralla
444:Pommer
421:German
396:shawme
392:shaume
347:, and
236:. The
222:. The
154:Europe
87:Sopila
72:Rhaita
2612:Dance
2503:Spain
2483:Italy
2412:Carol
2391:Roman
1854:Zurna
1794:Aulos
1763:Suona
1753:Sorna
1675:Duduk
1654:Zukra
1628:Shawm
1563:Aulos
1362:Shawm
1123:
1023:aulos
967:Korea
876:ramen
857:チャルメル
849:, or
844:チャルメラ
820:bajón
774:Dutch
680:tabor
651:waits
649:, or
576:suona
564:zūrnā
545:Egypt
515:(or:
495:. In
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