91:
595:
2643:
2653:
754:(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
1325:
395:
27:
731:
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
785:
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
1009:
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
812:
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
251:
1014:
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
207:, 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
760:
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
663:, 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
612:
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
375:, 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
256:
253:
252:
2221:
699:. 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.
255:
682:
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.
242:
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.
238:
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
221:
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
671:, 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".
642:, 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 (
254:
1901:
1372:
231:, 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
721:
II (1619), pages 23 and 36, but was not illustrated. Praetorius does, however, illustrate in Plate 13 in the supplementary volume of illustrations, the
1336:
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!
2682:
1402:
1203:
90:
536:, as the European shawm seems to have been developed from similar instruments brought to Europe from the Near East during the time of the
2687:
2677:
1301:
1242:
1065:
1038:
1002:
34:
2692:
2446:
2176:
623:, two octaves and a major third below the soprano in D. However, the larger sizes were unwieldy, which made them somewhat rare.
1894:
195:
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
440:
nations: in Spain, many traditional shawms with different names can be found, such as the
Castilian, Aragonese, and Leonese
634:, and the majestic sound of this ensemble was much in demand by civic authorities. The shawm became standard equipment for
2146:
1919:
932:
894:
674:
The shawm was reserved almost exclusively for outdoor performance—for softer, indoor music, other instruments such as the
200:
2456:
1797:
1271:
2501:
2646:
2549:
2364:
1887:
169:. Double-reed instruments similar to the shawm were long present in Southern Europe and the East, for instance the
777:. Several examples of this instrument survive in European collections, although its exact musical use is unclear.
2486:
2331:
2201:
1395:
1296:, third edition, reprinted with corrections 1977, with a foreword by Sir Adrian Boult. London: Faber & Faber
1228:
1102:
626:
The smaller sizes of shawm, chiefly the soprano, alto and sometimes the tenor, were more often coupled with the
2595:
594:
540:. This Arabic name is itself linguistically related to many other Eastern names for the instrument: the Arabic
786:
back" upon itself, creating a much more manageable instrument. The new instrument is often referred to as the
436:) This is borne out by the very similar names of many folk shawms used as traditional instruments in various
365:
2626:
2471:
2384:
2359:
2058:
1107:
131:
2656:
2633:
2610:
2605:
2241:
2126:
2005:
1189:
856:
227:
2476:
2374:
2166:
1234:
162:
95:
2121:
2251:
1658:
1388:
890:
145:
from the 12th century to the present day. It achieved its peak of popularity during the medieval and
2369:
2053:
2048:
2000:
1817:
1708:
1448:
1082:
474:
170:
138:
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1698:
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2509:
2461:
2341:
2316:
2301:
2291:
2286:
2256:
2033:
1995:
1935:
1498:
1329:
1305:
946:
712:
668:
667:
is the only surviving example. A reproduction has been made and played. Combined with a pipe and
46:
2326:
268:
the name first appears in the 14th century. There were originally three main variant forms, (1)
863:
theatre performances. It is also strongly associated in popular culture with street vendors of
813:
feature shawms, afforded by its ability to play quietly. The dulcian was the forerunner to the
2600:
2349:
2261:
2216:
2103:
2088:
2015:
1985:
1950:
1927:
1910:
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1718:
1668:
1297:
1238:
1209:
1199:
1034:
1028:
998:
751:
1115:
988:
707:
A tenor shawm in C with a single key , with a range of a perfect twelfth, was described as a
2524:
2466:
2354:
2276:
2231:
2186:
2161:
2156:
2111:
2078:
2073:
2038:
1980:
1955:
1513:
717:
400:
265:
174:
113:
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2539:
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2196:
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2023:
1945:
1940:
1723:
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994:
907:
639:
520:
409:
154:
1458:
1145:, edited by Alberto Basso, (12+2 volumes), Il lessico—vol. I, Torino, UTET, 1983, p. 550.
1693:
2559:
2534:
2491:
2266:
2236:
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2043:
2028:
1970:
1960:
1868:
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1422:
926:
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305:
158:
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2191:
2083:
2068:
1802:
1533:
1503:
1366:
1361:
1061:
480:
457:
1340:
1198:. Publications of the Early Music Institute. Bloomington: Indiana University Press.
2590:
2529:
2420:
2379:
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2116:
1990:
1822:
1611:
1523:
1443:
1350:
877:
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741:
635:
355:
239:
217:
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547:
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2311:
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2063:
1975:
1965:
1756:
1508:
1473:
1463:
1411:
1261:, corrected edition (The Norton Library N758) (New York: W. W. Norton, 1975): 90
1133:, corrected edition (The Norton Library N758) (New York: W. W. Norton, 1975): 58
951:
692:
627:
448:
146:
135:
99:
39:
394:
2415:
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321:
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1678:
1566:
1528:
1468:
1275:
696:
679:
659:
372:
1812:
1335:
1193:
859:, or possibly Iberian traders in the 16th century. It is sometimes used in
1380:
1324:
974:
2410:
1863:
1807:
1761:
1591:
1576:
1571:
1488:
1478:
1426:
911:
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537:
485:
442:
199:. Beginning in the 16th century, shawms were made in several sizes, from
166:
1827:
1733:
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1632:
1606:
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942:
936:
916:
814:
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1601:
860:
747:
614:
582:
437:
432:
142:
75:
60:
1879:
1688:
1167:
Charles Foster "Wind
Instruments", in Gardiner (2005), pp. 240–241.
391:, was probably due to this confusion of plural and singular forms.
1842:
1782:
1766:
1751:
1741:
1663:
1642:
1551:
1011:
955:
920:
864:
657:
Before the discovery of a still shawm aboard the shipwreck of the
593:
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552:
533:
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393:
249:
222:
189:
185:
181:
177:
89:
80:
70:
65:
55:
26:
1556:
1453:
1345:
1143:
Dizionario enciclopedico universale della musica e dei musicisti
765:
continued to manufacture an ornate version of the shawm, called
315:
309:
299:
293:
287:
281:
275:
269:
150:
1883:
1384:
617:. Larger sizes of shawm were built, down to the great bass in B
343:
337:
331:
325:
1683:
867:, who played a distinctive melody on it to attract customers.
119:
1365:
855:
descended either from shawms brought to Japan by
Portuguese
1355:
519:
However, it is also possible that the name comes from the
116:
1192:(2012). Carter, Stewart; Kite-Powell, Jeffery T. (eds.).
945:, a similar instrument from Italy which is still used in
691:, the shawm remains an important ritual instrument among
424:—also in English in the 14th century—later corrupted to
977:—from the Diabolus in Musica Guide to Early Instruments
452:, a term that derives from the same Old French word as
371:(The name of a somewhat different reed instrument, the
149:
periods, after which it was gradually eclipsed by the
654:
in
Italian) that it was also known as the wait-pipe.
541:
523:
2573:
2500:
2439:
2393:
2340:
2215:
2102:
2014:
1926:
1856:
1775:
1651:
1625:
1542:
1434:
575:
122:
45:
33:
1095:
1056:Anthony C. Baines and Martin Kirnbauer, "Shawm ",
1195:A performer's guide to seventeenth-century music
954:, a shawm-type instrument used in folk music in
489:
320:), each derived from a corresponding variant in
1131:Musical Instruments: A Comprehensive Dictionary
1058:The New Grove Dictionary of Music and Musicians
876:Instruments of the Middle Ages and Renaissance—
817:, which like the oboe was a Baroque invention.
364:. Calamus, in turn, derives from Ancient Greek
844:
831:
569:
1895:
1396:
851:, is a double-reed instrument in traditional
807:
801:
649:
511:
505:
499:
467:
461:
8:
1376:(11th ed.). Cambridge University Press.
795:
772:
771:, well after the introduction of the French
766:
755:
643:
425:
419:
413:
19:
1033:. Greenwood Publishing Group. p. 276.
885:(The Mayor of Lincoln's own Band of Musick)
722:
359:
349:
1902:
1888:
1880:
1403:
1389:
1381:
740:The shawm inspired the later 17th-century
1227:Burgess, Geoffrey; Haynes, Bruce (2004).
418:(or for the larger members of the family
1085:(Oxford: Oxford University Press, 2002).
1052:
1050:
967:
348:), each in turn derived from the Latin
260:Pipita and Zampogna in Calabria (Italy)
1294:Woodwind Instruments and Their History
1176:
215:-like double reed, made from the same
94:Shepherd playing the shawm (1646), by
18:
1425:and sextuple reeds; does not include
1068:(London: Macmillan Publishers, 2001).
880:and The Early Music Consort of London
7:
1259:Musical Instruments: A yo Dictionary
1116:participating institution membership
387:, and finally (in the 16th century)
153:family of descendant instruments in
430:and finally in the 17th century to
1154:Jermy Montagu "Music on Board the
1030:Daily Life in the Byzantine Empire
532:), a traditional oboe from
14:
1304:. Unaltered reprinted, New York:
1158:", in Gardiner (2005), pp. 226–30
2651:
2642:
2641:
2177:Giovanni Pierluigi da Palestrina
1323:
1274:. April 14, 2009. Archived from
987:West, Martin L. (January 1992).
727:(1620), along with crumhorns, a
112:
25:
157:. It is likely to have come to
16:Double-reed woodwind instrument
2683:Single oboes with conical bore
488:there is an instrument called
1:
1920:List of Renaissance composers
1079:The Oxford Companion to Music
895:Piffaro, The Renaissance Band
602:
1060:, second edition, edited by
935:, a similar instrument with
598:Woman playing a bass shawm (
576:
542:
524:
2709:
2550:Petrus Phalesius the Elder
2365:English Virginalist School
1464:Cor anglais (English horn)
1421:(also includes those with
1077:Jeremy Montagu, "Shawm ",
806:in Germany and Italy, and
685:Known by the Spanish term
2688:Swiss musical instruments
2678:Early musical instruments
2621:
2332:Jan Pieterszoon Sweelinck
1917:
1419:
1103:Oxford English Dictionary
845:
832:
529:
368:(kálamos), "reed, cane".
52:
24:
1027:Rautman, Marcus (2006).
2693:Double-reed instruments
2360:English Madrigal School
1373:Encyclopædia Britannica
1292:Baines, Anthony. 1967.
1272:"Lincoln Waites - Home"
1108:Oxford University Press
1010:system, therefore, the
883:City of Lincoln Waites
724:Theatrum instrumentorum
344:
338:
332:
326:
316:
310:
300:
294:
288:
282:
276:
270:
165:around the time of the
2202:Tomás Luis de Victoria
2006:Oswald von Wolkenstein
857:Christian missionaries
808:
802:
796:
773:
767:
756:
746:, an invention of the
723:
650:
644:
609:
570:
512:
506:
500:
494:; and the name of the
490:
468:
462:
426:
420:
414:
405:
404:by Michael Praetorius)
360:
350:
304:, all plural forms in
261:
180:, the closely related
103:
2222:Transition to Baroque
2167:Pierre de Manchicourt
1341:The Renaissance Shawm
1235:Yale University Press
929:or "shepherd's shawm"
923:shawm-type instrument
597:
456:); the Valencian and
397:
259:
163:Eastern Mediterranean
93:
2252:Girolamo Frescobaldi
2059:Cristóbal de Morales
1857:American traditional
1776:European traditional
1332:at Wikimedia Commons
1190:Jeffery, Kite-Powell
975:The Shawm and Curtal
703:Progeny of the shawm
412:the shawm is called
96:Jan Baptist Wolffort
2370:Florentine Camerata
2342:Composition schools
2001:Gaspar van Weerbeke
1626:African traditional
1449:Piccolo heckelphone
1346:Dolçaina valenciana
1106:(Online ed.).
990:Ancient Greek Music
889:Many recordings by
871:Modern performances
478:) or the Navarrese
188:, and the Armenian
139:woodwind instrument
47:Related instruments
21:
2565:Thomas Vautrollier
2545:Ottaviano Petrucci
2520:Pierre Attaingnant
2510:Hieronymus Andreae
2317:Michael Praetorius
2302:Claudio Monteverdi
2292:Giovanni de Macque
2287:Luzzasco Luzzaschi
2257:Alfonso Fontanelli
2147:Francisco Guerrero
2122:Antonio de Cabezón
2034:Thomas Crecquillon
2016:Middle (1470–1530)
1996:Johannes Tinctoris
1936:Alexander Agricola
1543:European classical
1499:Semi-contrabassoon
1435:European classical
1306:Dover Publications
947:Italian folk music
713:Michael Praetorius
610:
446:(sometimes called
406:
262:
104:
2665:
2664:
2262:Giovanni Gabrieli
2089:Philippe Verdelot
1986:Johannes Ockeghem
1928:Early (1400–1470)
1911:Renaissance music
1877:
1876:
1652:Asian traditional
1328:Media related to
1233:. New Haven, CT:
1205:978-0-253-35706-9
1114:(Subscription or
891:Blackmore's Night
790:, and was called
768:deutsche Schalmey
752:Martin Hotteterre
732:of bore length.)
358:diminutive form,
354:('reed'), or its
257:
88:
87:
2700:
2655:
2645:
2644:
2525:Vittorio Baldini
2502:Music publishing
2277:Hans Leo Hassler
2232:Gregorio Allegri
2187:Cipriano de Rore
2162:Vicente Lusitano
2157:Orlando di Lasso
2112:Jacques Arcadelt
2079:Pierre de la Rue
2074:Josquin des Prez
2054:Clément Janequin
2049:Antoine de Févin
2039:Antonius Divitis
1981:Johannes Martini
1956:Guillaume Du Fay
1904:
1897:
1890:
1881:
1514:Contrabassophone
1405:
1398:
1391:
1382:
1377:
1369:
1327:
1313:
1280:
1279:
1268:
1262:
1255:
1249:
1248:
1224:
1218:
1217:
1186:
1180:
1174:
1168:
1165:
1159:
1152:
1146:
1140:
1134:
1127:
1121:
1119:
1111:
1099:
1092:
1086:
1075:
1069:
1054:
1045:
1044:
1024:
1018:
1017:
984:
978:
972:
850:
848:
847:
837:
835:
834:
811:
805:
799:
776:
770:
759:
726:
718:Syntagma Musicum
653:
647:
645:die Stadtpfeifer
622:
621:
607:
604:
579:
574:, and the Hindu
573:
545:
531:
527:
515:
509:
503:
493:
471:
465:
429:
423:
417:
401:Syntagma Musicum
363:
353:
347:
341:
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329:
319:
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303:
297:
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285:
279:
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258:
129:
128:
125:
124:
121:
118:
29:
22:
2708:
2707:
2703:
2702:
2701:
2699:
2698:
2697:
2668:
2667:
2666:
2661:
2638:
2630:
2617:
2569:
2555:Girolamo Scotto
2540:Antonio Gardano
2496:
2435:
2389:
2336:
2327:Heinrich Schütz
2322:Philippe Rogier
2272:Orlando Gibbons
2224:
2220:
2211:
2207:Giaches de Wert
2197:Christopher Tye
2152:Claude Le Jeune
2142:Claude Goudimel
2137:Nicolas Gombert
2132:Andrea Gabrieli
2127:Jacobus Clemens
2098:
2094:Adrian Willaert
2024:Martin Agricola
2010:
1946:Antoine Busnois
1941:Gilles Binchois
1922:
1913:
1908:
1878:
1873:
1852:
1771:
1647:
1621:
1544:
1538:
1519:Reed contrabass
1484:Contrabass oboe
1436:
1430:
1415:
1409:
1360:
1320:
1311:
1289:
1284:
1283:
1270:
1269:
1265:
1257:Sibyl Marcuse,
1256:
1252:
1245:
1226:
1225:
1221:
1206:
1188:
1187:
1183:
1175:
1171:
1166:
1162:
1153:
1149:
1141:
1137:
1129:Sibyl Marcuse,
1128:
1124:
1113:
1094:
1093:
1089:
1076:
1072:
1055:
1048:
1041:
1026:
1025:
1021:
1005:
995:Clarendon Press
986:
985:
981:
973:
969:
964:
904:
873:
842:
829:
823:
783:
781:Dulcian/bassoon
738:
705:
619:
618:
605:
592:
568:, the Javanese
550:), the Turkish
342:(the plural of
250:
248:
155:classical music
115:
111:
17:
12:
11:
5:
2706:
2704:
2696:
2695:
2690:
2685:
2680:
2670:
2669:
2663:
2662:
2660:
2659:
2649:
2631:
2627:Medieval music
2623:
2622:
2619:
2618:
2616:
2615:
2614:
2613:
2608:
2603:
2598:
2593:
2583:
2577:
2575:
2571:
2570:
2568:
2567:
2562:
2560:Tielman Susato
2557:
2552:
2547:
2542:
2537:
2535:Valerio Dorico
2532:
2527:
2522:
2517:
2512:
2506:
2504:
2498:
2497:
2495:
2494:
2489:
2484:
2479:
2474:
2469:
2464:
2459:
2454:
2449:
2443:
2441:
2437:
2436:
2434:
2433:
2428:
2423:
2418:
2413:
2408:
2403:
2397:
2395:
2391:
2390:
2388:
2387:
2382:
2377:
2375:Franco-Flemish
2372:
2367:
2362:
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2346:
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2338:
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2329:
2324:
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2299:
2294:
2289:
2284:
2279:
2274:
2269:
2267:Carlo Gesualdo
2264:
2259:
2254:
2249:
2244:
2239:
2237:Thomas Campion
2234:
2228:
2226:
2213:
2212:
2210:
2209:
2204:
2199:
2194:
2189:
2184:
2182:Costanzo Porta
2179:
2174:
2172:Hans Neusidler
2169:
2164:
2159:
2154:
2149:
2144:
2139:
2134:
2129:
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2114:
2108:
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2100:
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2096:
2091:
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2076:
2071:
2066:
2061:
2056:
2051:
2046:
2044:Costanzo Festa
2041:
2036:
2031:
2029:Antoine Brumel
2026:
2020:
2018:
2012:
2011:
2009:
2008:
2003:
1998:
1993:
1988:
1983:
1978:
1973:
1971:Heinrich Isaac
1968:
1963:
1961:John Dunstaple
1958:
1953:
1951:Loyset Compère
1948:
1943:
1938:
1932:
1930:
1924:
1923:
1918:
1915:
1914:
1909:
1907:
1906:
1899:
1892:
1884:
1875:
1874:
1872:
1871:
1869:Trompeta china
1866:
1860:
1858:
1854:
1853:
1851:
1850:
1845:
1840:
1835:
1830:
1825:
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1655:
1653:
1649:
1648:
1646:
1645:
1640:
1635:
1629:
1627:
1623:
1622:
1620:
1619:
1614:
1609:
1604:
1599:
1597:Oboe da caccia
1594:
1589:
1587:Hirtenschalmei
1584:
1579:
1574:
1569:
1564:
1559:
1554:
1548:
1546:
1540:
1539:
1537:
1536:
1531:
1526:
1521:
1516:
1511:
1506:
1501:
1496:
1491:
1486:
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1476:
1471:
1466:
1461:
1456:
1451:
1446:
1440:
1438:
1432:
1431:
1420:
1417:
1416:
1410:
1408:
1407:
1400:
1393:
1385:
1379:
1378:
1364:, ed. (1911).
1362:Chisholm, Hugh
1358:
1353:
1348:
1343:
1338:
1333:
1319:
1318:External links
1316:
1315:
1314:
1312:Baines. 1991..
1309:
1288:
1285:
1282:
1281:
1278:on 2009-04-14.
1263:
1250:
1243:
1219:
1204:
1181:
1169:
1160:
1147:
1135:
1122:
1087:
1070:
1046:
1039:
1019:
1003:
997:. p. 84.
979:
966:
965:
963:
960:
959:
958:
949:
940:
930:
927:Hirtenschalmei
924:
914:
903:
900:
899:
898:
897:feature shawms
887:
881:
872:
869:
853:Japanese music
822:
819:
782:
779:
737:
734:
729:bassett:nicolo
704:
701:
648:in German and
600:Tobias Stimmer
591:
588:
562:, the Chinese
556:, the Persian
458:Catalan shawms
306:Middle English
247:
244:
159:Western Europe
86:
85:
84:
83:
78:
73:
68:
63:
58:
50:
49:
43:
42:
37:
35:Classification
31:
30:
15:
13:
10:
9:
6:
4:
3:
2:
2705:
2694:
2691:
2689:
2686:
2684:
2681:
2679:
2676:
2675:
2673:
2658:
2654:
2650:
2648:
2640:
2639:
2636:
2635:
2634:Baroque music
2629:
2628:
2620:
2612:
2609:
2607:
2604:
2602:
2599:
2597:
2594:
2592:
2589:
2588:
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2553:
2551:
2548:
2546:
2543:
2541:
2538:
2536:
2533:
2531:
2528:
2526:
2523:
2521:
2518:
2516:
2515:Andrea Antico
2513:
2511:
2508:
2507:
2505:
2503:
2499:
2493:
2490:
2488:
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2427:
2424:
2422:
2419:
2417:
2414:
2412:
2409:
2407:
2404:
2402:
2399:
2398:
2396:
2394:Musical forms
2392:
2386:
2383:
2381:
2378:
2376:
2373:
2371:
2368:
2366:
2363:
2361:
2358:
2356:
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2333:
2330:
2328:
2325:
2323:
2320:
2318:
2315:
2313:
2310:
2308:
2307:Thomas Morley
2305:
2303:
2300:
2298:
2297:Luca Marenzio
2295:
2293:
2290:
2288:
2285:
2283:
2280:
2278:
2275:
2273:
2270:
2268:
2265:
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2260:
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2255:
2253:
2250:
2248:
2245:
2243:
2240:
2238:
2235:
2233:
2230:
2229:
2227:
2223:
2218:
2214:
2208:
2205:
2203:
2200:
2198:
2195:
2193:
2192:Thomas Tallis
2190:
2188:
2185:
2183:
2180:
2178:
2175:
2173:
2170:
2168:
2165:
2163:
2160:
2158:
2155:
2153:
2150:
2148:
2145:
2143:
2140:
2138:
2135:
2133:
2130:
2128:
2125:
2123:
2120:
2118:
2115:
2113:
2110:
2109:
2107:
2105:
2101:
2095:
2092:
2090:
2087:
2085:
2084:John Taverner
2082:
2080:
2077:
2075:
2072:
2070:
2069:Jacob Obrecht
2067:
2065:
2062:
2060:
2057:
2055:
2052:
2050:
2047:
2045:
2042:
2040:
2037:
2035:
2032:
2030:
2027:
2025:
2022:
2021:
2019:
2017:
2013:
2007:
2004:
2002:
1999:
1997:
1994:
1992:
1989:
1987:
1984:
1982:
1979:
1977:
1974:
1972:
1969:
1967:
1964:
1962:
1959:
1957:
1954:
1952:
1949:
1947:
1944:
1942:
1939:
1937:
1934:
1933:
1931:
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1925:
1921:
1916:
1912:
1905:
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1870:
1867:
1865:
1862:
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1859:
1855:
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1846:
1844:
1841:
1839:
1836:
1834:
1831:
1829:
1826:
1824:
1821:
1819:
1816:
1814:
1811:
1809:
1806:
1804:
1803:Catalan shawm
1801:
1799:
1796:
1794:
1791:
1789:
1786:
1784:
1781:
1780:
1778:
1774:
1768:
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1555:
1553:
1550:
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1547:
1541:
1535:
1532:
1530:
1527:
1525:
1522:
1520:
1517:
1515:
1512:
1510:
1507:
1505:
1504:Contrabassoon
1502:
1500:
1497:
1495:
1492:
1490:
1487:
1485:
1482:
1480:
1477:
1475:
1472:
1470:
1467:
1465:
1462:
1460:
1457:
1455:
1452:
1450:
1447:
1445:
1442:
1441:
1439:
1433:
1428:
1424:
1418:
1413:
1406:
1401:
1399:
1394:
1392:
1387:
1386:
1383:
1375:
1374:
1368:
1367:"Shawm"
1363:
1359:
1357:
1354:
1352:
1349:
1347:
1344:
1342:
1339:
1337:
1334:
1331:
1326:
1322:
1321:
1317:
1310:
1307:
1303:
1302:0-571-08603-9
1299:
1295:
1291:
1290:
1286:
1277:
1273:
1267:
1264:
1260:
1254:
1251:
1246:
1244:0-300-09317-9
1240:
1236:
1232:
1231:
1223:
1220:
1215:
1211:
1207:
1201:
1197:
1196:
1191:
1185:
1182:
1178:
1173:
1170:
1164:
1161:
1157:
1151:
1148:
1144:
1139:
1136:
1132:
1126:
1123:
1117:
1109:
1105:
1104:
1098:
1091:
1088:
1084:
1083:Alison Latham
1080:
1074:
1071:
1067:
1063:
1062:Stanley Sadie
1059:
1053:
1051:
1047:
1042:
1040:9780313324376
1036:
1032:
1031:
1023:
1020:
1016:
1013:
1006:
1004:0-19-814975-1
1000:
996:
992:
991:
983:
980:
976:
971:
968:
961:
957:
953:
950:
948:
944:
941:
938:
934:
931:
928:
925:
922:
918:
915:
913:
910:, a shawm of
909:
906:
905:
901:
896:
892:
888:
886:
882:
879:
875:
874:
870:
868:
866:
862:
858:
854:
841:
828:
820:
818:
816:
810:
804:
798:
793:
789:
780:
778:
775:
769:
764:
758:
753:
749:
745:
744:
735:
733:
730:
725:
720:
719:
714:
711:according to
710:
702:
700:
698:
694:
690:
689:
683:
681:
677:
672:
670:
666:
662:
661:
655:
652:
646:
641:
637:
633:
630:trombone, or
629:
624:
616:
601:
596:
589:
587:
585:
584:
578:
572:
567:
566:
561:
560:
555:
554:
549:
544:
539:
535:
526:
522:
517:
514:
508:
502:
497:
492:
487:
483:
482:
477:
476:
470:
464:
459:
455:
451:
450:
445:
444:
439:
435:
434:
428:
422:
416:
411:
403:
402:
398:Shawms (from
396:
392:
390:
386:
382:
378:
374:
369:
367:
362:
357:
352:
346:
340:
334:
328:
323:
318:
312:
307:
302:
296:
290:
284:
278:
272:
267:
245:
243:
241:
236:
234:
230:
229:
224:
220:
219:
214:
210:
206:
202:
198:
193:
191:
187:
183:
179:
176:
172:
171:ancient Greek
168:
164:
160:
156:
152:
148:
144:
140:
137:
133:
127:
109:
101:
97:
92:
82:
79:
77:
74:
72:
69:
67:
64:
62:
59:
57:
54:
53:
51:
48:
44:
41:
38:
36:
32:
28:
23:
2632:
2625:
2596:Architecture
2530:Jacob Bathen
2247:John Dowland
2117:William Byrd
1991:Leonel Power
1767:Zurna/Surnai
1616:
1612:Rauschpfeife
1557:Baroque oboe
1545:(historical)
1524:Sarrusophone
1459:Oboe d'amore
1444:Piccolo oboe
1371:
1293:
1287:Bibliography
1276:the original
1266:
1258:
1253:
1229:
1222:
1194:
1184:
1172:
1163:
1155:
1150:
1142:
1138:
1130:
1125:
1101:
1090:
1081:, edited by
1078:
1073:
1066:John Tyrrell
1057:
1029:
1022:
1008:
989:
982:
970:
884:
878:David Munrow
839:
826:
824:
794:in England,
791:
784:
742:
739:
728:
716:
708:
706:
695:of Highland
693:Maya peoples
686:
684:
673:
664:
658:
656:
625:
611:
581:
563:
557:
551:
518:
479:
473:
453:
447:
441:
431:
407:
399:
388:
384:
380:
376:
370:
356:Vulgar Latin
263:
240:conical bore
237:
226:
218:arundo donax
216:
208:
194:
173:, and later
132:conical bore
107:
105:
2586:Renaissance
2581:Early music
2477:Netherlands
2457:Elizabethan
2312:Jacopo Peri
2282:Alonso Lobo
2242:John Cooper
2104:Late (1530)
2064:Jean Mouton
1976:Jean Japart
1966:Walter Frye
1757:Taepyeongso
1509:Contraforte
1474:Heckelphone
1414:instruments
1412:Double reed
1356:The Dulcian
1177:Baines 1991
952:Taepyeongso
628:Renaissance
606: 1500
311:sc(h)almuse
308:), and (3)
271:schallemele
147:Renaissance
136:double-reed
100:Rijksmuseum
40:Double reed
2672:Categories
2611:Philosophy
2606:Literature
2574:Background
2440:Traditions
2416:Magnificat
2406:Intermedio
2350:Burgundian
1848:Surma-horn
1714:Nadaswaram
1699:Kèn đám ma
1562:Bassanello
1118:required.)
962:References
636:town bands
513:cennamella
507:cialamello
501:ciaramella
361:calamellus
339:chalemeaux
322:Old French
317:schalmesse
295:shalemeyes
289:s(c)halmys
233:embouchure
209:fontanelle
205:great bass
2426:Offertory
2355:Colorists
2217:Mannerism
1679:Hichiriki
1567:Cornamuse
1529:Rothphone
1469:Bass oboe
1423:quadruple
1214:707212741
1156:Mary Rose
939:fingering
840:charumeru
827:charumera
821:Charumera
750:musician
697:Guatemala
680:cornamuse
665:Mary Rose
660:Mary Rose
651:I pifferi
498:shawm is
491:charamela
427:Bombhardt
373:chalumeau
301:chalemyes
246:Etymology
228:pirouette
201:sopranino
175:Byzantine
161:from the
2647:Category
2624: ←
2487:Portugal
2411:Madrigal
2385:Venetian
1864:Chirimía
1838:Tárogató
1808:Dulzaina
1762:Tangmuri
1592:Kortholt
1577:Crumhorn
1572:Cromorne
1534:Tromboon
1489:Tenoroon
1479:Lupophon
1437:(modern)
1427:bagpipes
1230:The Oboe
1015:'shawm.'
933:Hornpipe
912:Brittany
902:See also
774:hautbois
757:hautbois
743:hautbois
688:chirimia
676:crumhorn
620:♭
538:Crusades
525:salamiya
486:Portugal
469:dolçaina
449:chirimía
443:dulzaina
438:European
415:Schalmei
345:chalemel
333:chalemie
327:chalemel
277:shamulle
167:Crusades
141:made in
2637:→
2467:Germany
2447:British
1828:Piffero
1823:Musette
1798:Bombard
1793:Birbynė
1738:Sundari
1734:Shehnai
1694:Kèn bầu
1674:Gyaling
1659:Balaban
1633:Algaita
1607:Rackett
1582:Dulcian
1494:Bassoon
1308:, 1991.
1097:"Shawm"
943:Piffero
937:bagpipe
921:Tibetan
917:Gyaling
908:Bombard
815:bassoon
803:fagotto
788:dulcian
715:in his
632:sackbut
577:sahanai
496:Italian
463:xirimia
421:Bombard
377:schalme
366:κάλαμος
351:calamus
286:), (2)
283:shamble
266:English
213:bassoon
197:trumpet
130:) is a
98:(Dutch
2657:Portal
2482:Poland
2462:France
2452:Cyprus
2431:Pavane
2225:c.1600
1833:Sopila
1818:Gralla
1813:Graïle
1788:Bifora
1747:Sralai
1709:Mizmar
1704:Kuzhal
1638:Rhaita
1602:Pommer
1330:Shawms
1300:
1241:
1212:
1202:
1037:
1001:
893:, and
861:kabuki
797:fagott
792:curtal
748:French
709:nicolo
615:octave
583:sanayi
571:saruni
559:surnāy
530:سلامية
521:Arabic
475:gralla
433:Pommer
410:German
385:shawme
381:shaume
336:, and
225:. The
211:. The
143:Europe
76:Sopila
61:Rhaita
2601:Dance
2492:Spain
2472:Italy
2401:Carol
2380:Roman
1843:Zurna
1783:Aulos
1752:Suona
1742:Sorna
1664:Duduk
1643:Zukra
1617:Shawm
1552:Aulos
1351:Shawm
1112:
1012:aulos
956:Korea
865:ramen
846:チャルメル
838:, or
833:チャルメラ
809:bajón
763:Dutch
669:tabor
640:waits
638:, or
565:suona
553:zūrnā
534:Egypt
504:(or:
484:. In
481:gaita
472:, or
454:shawm
389:shawm
223:bocal
190:duduk
186:zurna
182:sorna
178:aulos
108:shawm
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