"duduk. 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 trumpet. Beginning in the 16th century, shawms were made in several sizes, from sopranino to great bass, 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 ""fontanelle"". The bassoon-like double reed, made from the same ""Arundo donax"" cane"
"Shawm The shawm () is a conical bore, double-reed woodwind instrument made in Europe from the 12th century to the present day. It achieved its peak of popularity during the medieval and Renaissance periods, after which it was gradually eclipsed by the oboe family of descendant instruments in classical music. It is likely to have come to Western Europe from the Eastern Mediterranean around the time of the Crusades. Double reed instruments similar to the shawm were long present in Southern Europe and the East, for instance the Ancient Greek, and later Byzantine, aulos, the Persian sorna, and the Armenian"
"and the only place where they have been given a modern mechanism (keywork) like orchestral woodwind instruments. Shawms used to be widespread in Europe up into the Renaissance. They were chiefly of two types: shawms that evolved from bagpipe chanters, and shawms that evolved from Middle Eastern instruments. The Italian ""ciaramella"" is an example of the former, and the tible and tenora of the latter. The oboe features aspects of both designs. Catalan shawm In music, a Catalan shawm is one of two varieties of shawm, an oboe-like woodwind musical instrument played in Catalonia in northeastern Spain. The types of"
"for town bands, or waits, 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 (""die Stadtpfeifer"" in German and ""I pifferi"" in Italian) that it was also known as the wait-pipe. The shawm was reserved almost exclusively for outdoor performance—for softer, indoor music, other instruments such as the crumhorn and cornamuse 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. The"
"A small bass (or tenor-sized viol tuned as a bass) was often employed to play polyphonic music, ""Lyra-Way."" When used in this fashion, the instrument was called ""lyra viol."" The common wind instruments included the shawms, recorders, cornetts, sackbuts (trombones), krumhorns and flutes (which were known as 'piffari'.) The trumpets and piffari were used for the announcement of the arrival of royalty and during military exercises. The shawms, cornetti and sackbuts were used in loud consorts. The flute had a sweet and solemn tone, the recorder had a more rich sound, but because of the windway (which directed the breath"
"as the European shawm seems to have been developed from similar instruments brought to Europe from the Near East during the time of the Crusades. This Arabic name is itself linguistically related to many other Eastern names for the instrument: the Arabic ""zamr"", the Turkish ""zūrnā"", the Persian ""surnāy"", the Chinese ""suona"", the Javanese ""saruni"", and the Hindu ""sahanai"" or ""sanayi"". Instruments resembling the medieval shawm can still be heard in many countries today, played by street musicians or military bands. The latter use would have been familiar to crusaders, who often had to face massed bands of Saracen shawms"
"became notable musicians. Some tunes are extant named after the waits of particular towns and cities, e.g. Chester Waits and London Waits. The usual instrument of the waits was the shawm; its loud and pungent sound suiting it to outdoor playing. They also in some cases played string instruments, and were also sometimes noted for their singing, as at Norwich. Their instruments also varied, but were for the main part loud and penetrating wind instruments such as the shawm, which was so closely associated with them that it was also known as the wait-pipe. Waits were provided with salaries, liveries"
"reduction in the size of the fingerholes. This also extended the range, enabling the performer to play the notes in the second octave. Larger sizes of shawm were built, down to the great bass in Bb, two octaves and a major third below the soprano in D. However, the larger sizes were unwieldy, which made them somewhat rare. The smaller sizes of shawm, chiefly the soprano, alto and sometimes the tenor, were more often coupled with the Renaissance trombone, or sackbut, and the majestic sound of this ensemble was much in demand by civic authorities. The shawm became standard equipment"
"profile combined with the unrestricted vibration of the reed within the windcap produced an instrument that was exceedingly loud, which made it useful for outdoor performances. The word ""Rauschpfeife"" (German for ""rush (or reed) pipe"" from the Old German ""rusch"" for 'rush', as in grass), is found in the description of two windcapped instruments depicted in one of the 16th-century woodcut illustrations of ""Triumphal Procession"", commissioned by Holy Roman Emperor Maximilian I. The 20th century music historian Curt Sachs believed these were the same as the capped shawms found in several European museums although their appearance is somewhat different from"
"kind of conical-bored shawm with seven holes in the front and one in the back, which is played in a similar manner to the bagpipe chanter. While it was traditionally made in E-flat, the instrument has been revitalized by Antón Corral, who makes them in D. A transverse flute with six holes is called a ""requinta""; it is similar to the fife. It is usually in G, or sometimes a high C. Traditional Galician wind instruments include the ""pito pastoril (galego)"", literally (Galician) shepherd's whistle. Despite the similarity in name, this instrument belongs to a different family than the Cantabrian"
"Bombard (music) The bombard (, ) is a contemporary conical-bore double-reed instrument widely used to play traditional Breton music. The bombard is a woodwind instrument, and a member of the shawm family. Like most shawms, it has a broad and very powerful sound, vaguely resembling a trumpet. It is played as other shawms are played, with the double reed placed between the lips. The second octave is 'over-blown'; achieved via increased lip and air pressure or through the use of an octave key. It plays a diatonic scale of up to two octaves, although contemporary instruments frequently have added keywork"
"player had to stand on a box to reach the reed, and wood cuts exist which show a bass shawm player holding the instrument horizontally, with another person helping to support. For this reason, the Curtal, with a folded bore, was often used to replace the bass shawm. The fife was a wooden pipe with six finger holes used with the drum in marching formations. Single reeds were used for the drones of bagpipes, but chanters used double reeds. Percussion was normally just various forms and sizes of drums and bells. The keyboards were the organs, virginals, and harpsichord. Other"
"reed instruments either had the reed fully enclosed, like the crumhorn or the bagpipe, or partially enclosed by a ""pirouette"", like the shawm. It has been argued the dulcian displaced the bass shawm, on account of its more convenient size, but it has also been argued that the two co-existed and that the bass shawm appeared at about the same time as the bass dulcian. The instrument seems to have been in wide use by the middle of the sixteenth century. A set of instruments in various sizes exist in Brussels: these have a maker's mark of ""Melchor"" and are"
"viola with five strings, one of which was a drone, popular amongst the jongleurs to accompany their singing and recitations; Organistrum, a three-stringed instrument similar to the vielle but played by the turning of a crank, with strings ‘stopped by a set rods instead of the player’s fingers); and Psaltery, a type of zither played by plucking or ‘striking’ the strings, which frequently appears in medieval art. The most common wind instruments included both recorder and transverse style flutes; the reeded Shawms, a precursor to the oboe; trumpets and Bagpipes. Drums, harps, recorders, and bagpipes were the instruments of choice"
"Catalan shawm In music, a Catalan shawm is one of two varieties of shawm, an oboe-like woodwind musical instrument played in Catalonia in northeastern Spain. The types of shawm commonly used in Catalonia are the tible (, Catalan for ""treble"") and the tenora (, Catalan for ""tenor""). The tenora is pitched a fifth lower than the tible. These shawms are usually used with other instruments to accompany the traditional Catalan circle dance, the Sardana. Other Catalan folk shawms are the tarota () the original keyless version of the ""tible"", and the gralla (), a short, strident instrument with a steep"
"Nadaswaram The nadhaswaram, nagaswaram, or nathaswaram is a double reed wind instrument from South India. It is used as a traditional classical instrument in Tamilnadu, Andhra Pradesh, Karnataka, and Kerala. This instrument is ""among the world's loudest non-brass acoustic instruments"". It is a wind instrument similar to the North Indian ""shehnai"" but much longer, with a hardwood body and a large flaring bell made of wood or metal. In Tamil culture, the nadaswaram is considered to be very auspicious, and it is a key musical instrument played in almost all Hindu weddings and temples of the South Indian tradition. It"
"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 bocal. The ""pirouette"", 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 embouchure. 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 conical bore and flaring bell, combined with the style of"
"length.) The shawm inspired the later 17th century ""hautbois"", an invention of the French musician Martin Hotteterre (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 ""hautbois"" began replacing the shawm in military bands, concert music and opera; by 1700, the shawm had all but disappeared from concert life, although as"
"that ""Sorna"" is a cognate of ""Horn"", as ""Sorna"" simply means horn. This is a result of the Centum-Satem isogloss, and later Grimm's Law. Even in Persian there is another wind instrument whose name appears to be a cognate of both ""Sorna"" and ""Horn"", called ""Karna"" (کرنا); this may stem from a re-borrowing from another language. The instrument's history dates back to the Achaemenid Dynasty (550-330 BCE), and was used to play at the end of the day from the city gate or from the local administration building. This custom persisted in England until the 19th century, the town waits"
"The fact that there is no thumbhole (like the shawm) also points to a conical bore instrument that overblows at the octave, with no need to extend the range upward by means of a thumbhole (as is seen on the crumhorn, sordun, and other cylindrical bore reed instruments.) The quiet timbre was apparently produced by a narrow conical bore without a terminal flare. Bassanello The Bassanello, pl. Bassanelli was a renaissance double reed woodwind instrument which was described in 1619 by Michael Praetorius in his ""Syntagma Musicum II"": Though Praetorius attributes the invention of bassanelli to Johann Bassanello (a.k.a. Giovanni"
"against the edge where the sound is created) the player had less dynamic control. The shawms and krummhorns were double-reed instruments, but because the krummhorns had a cylindrical bore, they sounded an octave lower than the shawms of the same sounding-length and were quieter. (This cylindrical bore is what gives the clarinet its characteristic sound, but the clarinet, as such, had yet to be invented.) The soprano of the shawm family (called 'hautbois' by the French, for high or loud wood) would eventually be tamed to make the baroque oboe. The bass of the shawms was so long that the"
"Bawu The bawu (; also ba wu) is a Chinese wind instrument. Although shaped like a flute, it is actually a free reed instrument, with a single metal reed. It is played in a transverse (horizontal) manner. It has a pure, clarinet-like timbre and its playing technique incorporates the use of much ornamentation, particularly bending tones. The ""bawu"" likely originated in the Yunnan province of southwest China, it has become a standard instrument throughout China, used in modern Chinese compositions for traditional instrument ensembles. The instrument is also closely associated with Hmong, Yi, Hani and other minority cultures in southwestern"
"assembly or lip rest used in some European double-reed instruments, including the piffero, shawm and rackett. In band shawms, it is carried on the staple on which the reed is mounted On the European shawm, the pirouette replaces the loose disc of the oriental surna, presumably to secure lip-control over the cane reed. The player presses his lips against the pirouette while holding the reed in his mouth. This permits control of the reed by the lips without appreciably affecting the amplitude of its vibration. Mouthpiece (woodwind) The mouthpiece of a woodwind instrument is that part of the instrument which"
"Rauschpfeife Rauschpfeife is a commonly used term for a specific type of capped conical reed musical instrument of the woodwind family, used in Europe in the 16th and 17th centuries. In common with the crumhorn and cornamuse, it is a wooden double-reed instrument with the reed enclosed in a windcap. The player blows into a slot in the top of the windcap to produce the sound. This instrument, for reasons given below, should be more correctly referred to as ""Schreierpfeife."" Rauschpfeifes (Schreierpfeiffen) differ from cornamusen mainly in the shape of the bore, which, like the shawm, is conical. This bore"
"conical bore. Both of these resemble shawms from other parts of Spain, such as the dolçaina of Aragon and Valencia, and both employ open fingering. There are several distinct differences between shawms and oboes. Shawms normally have a larger bore, which makes them louder and more suitable than the oboe for outdoor playing. In addition, the bore is more ""sword-shaped"" than that of the oboe (it is more like a narrow parabola than a perfect cone). This gives the shawm a stronger, earthier, more fiery tone. Though favored in ancient times, some today find the sound harsh and irritating. The"
"her parental house for her husband's house. Sometimes, two shehnais can be tied together, making it a double shawm similar to the ancient Greek aulos. Whereas the counterparts played in West Indian and Coastal Karnataka are indigenous to the territory. Shenai players were/are an integral part of Goan/Konkani and temples along the western coast and the players are called as ""Vajantri"" and they were allotted lands for services rendered for the temples. Shehnai The shehnai is a musical instrument, originating from the Indian subcontinent. It is made out of wood, with a double reed at one end and a metal"
"Kortholt The kortholt is a musical instrument of the woodwind family, used in the Renaissance period. The name comes from Low Saxon and means short (""kort"") piece of wood (""holt""). This name is mentioned in the work ""Syntagma musicum"" by Michael Praetorius, who is the main source for information about this instrument. The name refers to the characteristic low pitch that belies the short length of the instrument, and could be applied more generically to any wind instrument which was deeper in pitch than expected from its length. The kortholt is a ""capped reed"" instrument. Its construction is similar to"
"playing shawms to mark the hours. The instrument was mainly played in outdoors in regional music of Iran in the festive ceremonies (the Persian poet Molana Rumi mentioned the sorna and dohol in his poems). The Achaemenid sorna was a large trumpet-like instrument, but in later dates was reduced in size, and became more like (shrill oboe), or ""dozale"" (double oboe), which is characterized by a turned wood body of simple shape, with a heavily flared bell. The earlier was categorized as a trumpet, but this was a mistaken idea based on the bell of the oboe and the freeblowing"
"Alta cappella An alta cappella or alta musica (Italian), alta musique (French) or just alta was a kind of town wind band found throughout continental Europe from the thirteenth to the eighteenth centuries, which typically consisted of shawms and slide trumpets or sackbuts. Waits were the British equivalent. These were not found anywhere outside of Europe. ""Alta musique"" in general refers to the ""loud music"" of instruments like shawms, sackbuts, trumpets, and drums, in contrast to ""basse musique"", the ""soft music"" of recorders, viols, fiddles, harps, psalteries, and the like. These ensembles first appeared in Europe in the thirteenth century,"
"among many cultural achievements of humanity. It was also used in pastoral songs and funeral music. According to Huseyngulu Sarabski, hunters played the balaban to attract quails. Certain types of the balaban are also used in ashik music. Kamil Jalilov's recording of the song with balaban was included on the Voyager Golden Record, attached to the Voyager spacecraft as representing mugham, only Azerbaijani song included among many cultural achievements of humanity. Balaban (instrument) Balaban, or balaman () is cylindrical-bore, double-reed wind instrument about long with eight finger holes and one thumb hole. Balaban, one of the ancient wind instruments, is"
"According to Josephus, it had twelve strings and was played with a quill, not with the hand. Another writer suggested that it was like a guitar, but with a flat triangular form and strung from side to side. Among the wind instruments used in the biblical period were the cornet, wood flute, horn, organ, pipe, and early trumpet. There were also silver trumpets and the double oboe. Werner concludes that from the measurements taken of the trumpets on the Arch of Titus in Rome and from coins, that ""the trumpets were very high pitched with thin body and shrill sound."""
"woodwind instrument, so the ""clarinets"" played by the Dwarves Bifur and Bofur during the Unexpected Party in ""The Hobbit"" are possibly one of the handful of anachronisms that appear in Tolkien's fiction. Alternatively a pre-modern instrument is intended, such as the medieval double clarinet. Horns are found in virtually all cultures in the world of Middle-earth: Valar, Elves, Dwarves, Men, Hobbits and Orcs. These horns are the older (valveless) type of horn, generally fashioned from readily-available natural objects, mainly animal horns, but also conches in maritime areas. Rare horns are made of silver, or covered in gold. Most of the"
"Flutes are also a common woodwind instrument in ensembles. A kaval is a three-part flute that is blown in one end, whereas the ney is a long cane flute, played by blowing across the sharp edge while pursing the lips. The influence of Abrahamic religions have had a great impact on the musical culture of the Middle East. Religion forms a major background to many traditional styles of music and dance, ranging from classical to more modern. All over the Middle East, you hear songs of praise and prayer. What is conducted by a muezzin, or prayer caller, for example,"