"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"
"general-purpose bass instrument, even in refined settings where shawms were considered inappropriate. The dulcian is the forerunner of the modern bassoon. Known by the Spanish term ""chirimia"", the shawm remains an important ritual instrument among Maya peoples of Highland Guatemala. 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. A tenor shawm in C with a single key [without the customary lower extension to G], with a range of a perfect twelfth, was described as a"
"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"
"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"
"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"
"was less shrill than earlier shawms. The still shawm disappeared from the musical scene some time in the 16th century, and the instrument found on the ""Mary Rose"" is the only surviving example. A reproduction has been made and played. Combined with a pipe and tabor, 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"". Only a few other fiddle-type instruments from the 16th century exist, but none of them of the type found on the ""Mary Rose"". Reproductions of both fiddles have"
"rhythm to work on the rigging and turning the capstans on the upper decks. The tabor drum is the earliest known example of its kind and the drumstick of a previously unknown design. The tabor pipes are considerably longer than any known examples from the period. Their discovery proved that contemporary illustrations, previously viewed with some suspicion, were in fact accurate depictions of the instruments. Before the discovery of the ""Mary Rose"" shawm, an early predecessor to the oboe, instrument historians had been puzzled by reference to ""still shawms"", or ""soft"" shawms, that were said to have a sound that"
"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"
"development needed for the complexity of music of the time. Trumpets evolved into their modern form to improve portability, and players used mutes to properly blend into chamber music. Beginning in the seventeenth century, composers began creating works of a more emotional style. They felt that a monophonic style better suited the emotional music and wrote musical parts for instruments that would complement the singing human voice. As a result, many instruments that were incapable of larger ranges and dynamics, and therefore were seen as unemotional, fell out of favor. One such instrument was the shawm. Bowed instruments such as"
"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"
"instruments used in battle as earlier as the 12th century. This instrument rose in popularity during the Renaissance period. Believed to be a successor of the instrument, the ""zurna."" It was mostly used as a military instrument.The overpowering noise coming from this instrument was used as a psychological weapon.The shawm would eventually found its way to Europe during the Crusades ""See also"" Shawm Martial music Martial music or military music is a specific genre of music intended for use in military settings. Much of the military music has been composed to announce military events as with bugle calls and fanfares,"
"Pommer Pommer or bombard (French ""hautbois""; Italian ""bombardo"", ""bombardone"") describes the alto, tenor, bass, and contrabass members of the shawm or Schalmey family, which are similar in function to the modern cor anglais, bass oboe, bassoon, and contrabassoon, although the bassoon family's direct ancestor was the dulcian/curtal family. The name ""Pommer"" arose in Germany, named after artillery, and was large and powerful in tone. The shawm family was the prototypical consort instrument, built in seven sizes from high soprano to great bass, and an ensemble of double reed shawms was capable of producing a grand, full, and balanced sound. These"
"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"
"late as 1830 shawms could still be heard in German town bands performing their municipal functions . Curiously, the Germans and Dutch continued to manufacture an ornate version of the shawm, called ""deutsche Schalmey"", well after the introduction of the French ""hautbois"". Several examples of this instrument survive in European collections, although its exact musical use is unclear. The , or , is a double-reed instrument in traditional Japanese music descended either from shawms brought to Japan by Portuguese Christian missionaries, or possibly Iberian traders in the 16th century. It is sometimes used in kabuki theatre performances. Shawm The shawm"
"Shashmaqam Shashmaqam is a Central Asian musical genre (typical of Tajikistan and Uzbekistan) which may have developed in the city of Bukhara. Shashmaqam means the six Maqams (modes) in the Persian language, dastgah being the name for Persian modes, and ""maqams"" being the name for modes more generally. It is a refined sort of music, with lyrics derived from Sufi poems about divine love. The instruments of shashmaqam provide an austere accompaniment to the voices. They consist, at most concerts, of a pair of long-necked lutes, the dayra, or frame drum, which, with its jingles, is very much like a"
"taken from the ceremonial loud bands of the Arab World, consisting of small shawms, nakers, and other percussion, together with pairs of straight trumpets functioning as something of a cross between drone and percussion. In Europe, these instruments were sometimes augmented by bagpipes and pipe and tabor. By the fifteenth century, these bands had come mainly to consist of three musicians, two playing shawms and the other a slide trumpet or (later) sackbut, but in the sixteenth century the size gradually increased and the instrumentation became more varied. After about 1500 in Germany, the ""alta"" developed into the kind of"
"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"
"difference in bore shape also gives shawms additional problems with intonation. It was the goals of easier fingering, better intonation, and a sound and volume level more suitable for indoor use that prompted the innovations that turned the shawm into the oboe. The tible and tenora, however, were modernized with a modified bore and fully chromatic keywork without giving up their place in traditional bands and at festivals. There are many shawms throughout the world (many of them in the Middle East and Asia) but Catalonia is one of the few places in Europe where they are still frequently used,"
"of all styles - from classical to folk, rock, pop, punk, metal - in arrangements of traditional Breton dance tunes or in new compositions. Some ""sonerien"": 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"
"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"
"""al-tabl"", atambal from ""al-tinbal"", the balaban, the castanet from ""kasatan"", sonajas de azófar from ""sunuj al-sufr"", the conical bore wind instruments, the xelami from the ""sulami"" or ""fistula"" (flute or musical pipe), the shawm and dulzaina from the reed instruments ""zamr"" and ""al-zurna"", the gaita from the ""ghaita"", rackett from ""iraqya"" or ""iraqiyya"", geige (violin) from ""ghichak"", and the theorbo from the ""tarab"". During the 1950s and the 1960s, Arabic music began to take on a more Western tone – artists Umm Kulthum, Abdel Halim Hafez, and Shadia along with composers Mohamed Abd al-Wahab and Baligh Hamdi pioneered the use"
"and nakers, used as a psychological weapon. It must have had a profound effect, as the shawm was quickly adopted by Europeans, for dancing as well as for military purposes. The standard outdoor dance band in the fifteenth century consisted of a slide trumpet playing popular melodies, while two shawms improvised countermelodies over it. In many Asian countries, shawm technique includes circular breathing allowing continuous playing without pauses for air. By the early 16th century, the shawm had undergone considerable development. The harsh tonality of the medieval shawm had been modulated somewhat by a narrowing of the bore and a"
"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"
"a ""reinterpretation of traditional Arabic instruments, modal scales and rhythms found in ""chobi"" and ""mijwiz"" wedding music - and paralleled in the Egyptian ""electro-shaabi"" scene"". Shamstep Shamstep is a Middle-Eastern genre of electronic dance music that combines the traditional forms of Dabke music with electronic instruments. 'Sham' is the Arabic name for the region of Greater Syria, Syria-Palestine or the Levant. The term 'Shamstep' was coined by the Jordanian-Palestinian band 47Soul to describe their music. Shamstep has been described as 'more than just a byword for hipsterfied East-West fusion. In 47Soul's home region, it's becoming part of the soundtrack for"
"original one. Taqsim is either a solo instrument performance, or one that is backed by a percussionist or other instrumentalist playing a drone on the tonic of the maqam. Taqsim Taqsim ( / ALA-LC: ""taqsīm""; , ) is a melodic musical improvisation that usually precedes the performance of a traditional Arabic, Greek, Middle Eastern, or Turkish musical composition. Taqsim traditionally follows a certain melodic progression. Starting from the tonic of a particular Arabic maqam (or a Turkish makam), the first few measures of the improvisation remain in the lower ajnas of the maqam, thereby introducing the maqam to the listener."
"Xalam Xalam (in Serer, or khalam in Wolof) is a traditional stringed musical instrument from West Africa. The xalam is thought to have originated from modern-day Mali, but some believe that, in antiquity, the instrument may have originated from Ancient Egypt. Many believe that it is an ancestor to the African American banjo. The xalam is commonly played in Mali, Gambia, Senegal, Niger, Northern Nigeria, Northern Ghana, Burkina Faso, Mauritania, and Western Sahara; it is also known in other languages as bappe, diassare, hoddu (Pulaar), koliko (Gurunsi), kologo (Frafra), komsa, kontigi (Hausa), koni, konting (Mandinka), molo (Songhay/Zarma), ndere, ngoni (Bambara),"
"elements of musical notation began to take shape. This invention made possible the separation of the composition of a piece of music from its ""transmission""; without written music, transmission was oral, and subject to change every time it was transmitted. With a musical score, a work of music could be performed without the composer's presence. The invention of the movable-type printing press in the 15th century had far-reaching consequences on the preservation and transmission of music. Typical stringed instruments of the early period include the harp, lute, vielle, and psaltery, while wind instruments included the flute family (including recorder), shawm"
"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"
"16th century proclivity for building instruments in a full range of sizes was naturally extended to the shawm, but the shawm consort proved to be a short-lived experiment. The extreme length of pipe of the bass instruments meant that few were built and played; instead, an ingenious solution was devised whereby the bore was in effect “folded back” upon itself, creating a much more manageable instrument. The new instrument is often referred to as the dulcian, and was called ""curtal"" in England, ""fagott"" or ""fagotto"" in Germany and Italy, and ""bajón"" in Spain, and it became very popular as a"
"was nominated for a Grammy award for new age music in 2012. The harmonium is popular to the present day, and the harmonium remains an important instrument in many genres of Indian and Pakistani music. For example, it is a staple of vocal North Indian classical music and Sufi Muslim Qawwali concerts. It is commonly found in Indian homes. Though derived from the designs developed in France, the harmonium was developed further in India in unique ways, such as the addition of drone stops and a scale-changing mechanism. In Kolkata, Dwarkanath Ghose of the Dwarkin company modified the imported harmony"
"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"
"using their songs and recitations, and were employed by powerful members of the community as praise-singers and historians. Today many modern Wolof musicians still come from Griot families. After the 19th century conversion of major Wolof kingdoms to Islam, the ""tagg"", or ode song in Wolof, was reused in an Islamic Nasheed tradition—an important integration of pre-Islamic style into the new Muslim paradigm. Wolof folk instruments include the ""xalam"" or ""halam"", which is a five-stringed lute, very important in Wolof folk music, the sabar drums, an ensemble of seven different drums, each differently tuned, and the hourglass talking drum called"