1.
Lower Saxony
–
Lower Saxony is a German state situated in northwestern Germany and is second in area, with 47,624 square kilometres, and fourth in population among the sixteen Länder of Germany. In rural areas Northern Low Saxon, a dialect of Low German, and Saterland Frisian, a variety of Frisian, are still spoken, but the number of speakers is declining. Lower Saxony borders on the North Sea, the states of Schleswig-Holstein, Hamburg, Mecklenburg-Vorpommern, Brandenburg, Saxony-Anhalt, Thuringia, Hesse and North Rhine-Westphalia, and the Netherlands. Furthermore, the state of Bremen forms two enclaves within Lower Saxony, one being the city of Bremen, the other, its city of Bremerhaven. In fact, Lower Saxony borders more neighbours than any other single Bundesland, the states principal cities include the state capital Hanover, Braunschweig, Lüneburg, Osnabrück, Oldenburg, Hildesheim, Wolfenbüttel, Wolfsburg and Göttingen. The northwestern area of Lower Saxony, which lies on the coast of the North Sea, is called East Frisia, in the extreme west of Lower Saxony is the Emsland, a traditionally poor and sparsely populated area, once dominated by inaccessible swamps. The northern half of Lower Saxony, also known as the North German Plains, is almost invariably flat except for the hills around the Bremen geestland. Towards the south and southwest lie the northern parts of the German Central Uplands, the Weser Uplands, between these two lie the Lower Saxon Hills, a range of low ridges. Thus, Lower Saxony is the only Bundesland that encompasses both maritime and mountainous areas, Lower Saxonys major cities and economic centres are mainly situated in its central and southern parts, namely Hanover, Braunschweig, Osnabrück, Wolfsburg, Salzgitter, Hildesheim and Göttingen. Oldenburg, near the coastline, is another economic centre. To the north, the Elbe river separates Lower Saxony from Hamburg, Schleswig-Holstein, Mecklenburg-Western Pomerania, the banks just south of the Elbe are known as Altes Land. Due to its local climate and fertile soil, it is the states largest area of fruit farming. Most of the territory was part of the historic Kingdom of Hanover. It was created by the merger of the State of Hanover with several states in 1946. Lower Saxony has a boundary in the north in the North Sea. The state and city of Bremen is an enclave surrounded by Lower Saxony. The Bremen/Oldenburg Metropolitan Region is a body for the enclave area. To the southeast the state border runs through the Harz, low mountains that are part of the German Central Uplands, in northeast Lower Saxony is Lüneburg Heath
Lower Saxony
–
Hannover
Lower Saxony
–
Flag
Lower Saxony
–
Braunschweig
Lower Saxony
–
Lüneburg
2.
Germany
–
Germany, officially the Federal Republic of Germany, is a federal parliamentary republic in central-western Europe. It includes 16 constituent states, covers an area of 357,021 square kilometres, with about 82 million inhabitants, Germany is the most populous member state of the European Union. After the United States, it is the second most popular destination in the world. Germanys capital and largest metropolis is Berlin, while its largest conurbation is the Ruhr, other major cities include Hamburg, Munich, Cologne, Frankfurt, Stuttgart, Düsseldorf and Leipzig. Various Germanic tribes have inhabited the northern parts of modern Germany since classical antiquity, a region named Germania was documented before 100 AD. During the Migration Period the Germanic tribes expanded southward, beginning in the 10th century, German territories formed a central part of the Holy Roman Empire. During the 16th century, northern German regions became the centre of the Protestant Reformation, in 1871, Germany became a nation state when most of the German states unified into the Prussian-dominated German Empire. After World War I and the German Revolution of 1918–1919, the Empire was replaced by the parliamentary Weimar Republic, the establishment of the national socialist dictatorship in 1933 led to World War II and the Holocaust. After a period of Allied occupation, two German states were founded, the Federal Republic of Germany and the German Democratic Republic, in 1990, the country was reunified. In the 21st century, Germany is a power and has the worlds fourth-largest economy by nominal GDP. As a global leader in industrial and technological sectors, it is both the worlds third-largest exporter and importer of goods. Germany is a country with a very high standard of living sustained by a skilled. It upholds a social security and universal health system, environmental protection. Germany was a member of the European Economic Community in 1957. It is part of the Schengen Area, and became a co-founder of the Eurozone in 1999, Germany is a member of the United Nations, NATO, the G8, the G20, and the OECD. The national military expenditure is the 9th highest in the world, the English word Germany derives from the Latin Germania, which came into use after Julius Caesar adopted it for the peoples east of the Rhine. This in turn descends from Proto-Germanic *þiudiskaz popular, derived from *þeudō, descended from Proto-Indo-European *tewtéh₂- people, the discovery of the Mauer 1 mandible shows that ancient humans were present in Germany at least 600,000 years ago. The oldest complete hunting weapons found anywhere in the world were discovered in a mine in Schöningen where three 380, 000-year-old wooden javelins were unearthed
Germany
–
The
Nebra sky disk is dated to c. 1600 BC.
Germany
–
Flag
Germany
–
Martin Luther (1483–1546) initiated the
Protestant Reformation.
Germany
–
Foundation of the
German Empire in
Versailles, 1871.
Bismarck is at the center in a white uniform.
3.
Musical instrument
–
A musical instrument is an instrument created or adapted to make musical sounds. In principle, any object that produces sound can be a musical instrument—it is through purpose that the object becomes a musical instrument, the history of musical instruments dates to the beginnings of human culture. Early musical instruments may have used for ritual, such as a trumpet to signal success on the hunt. Cultures eventually developed composition and performance of melodies for entertainment, Musical instruments evolved in step with changing applications. The date and origin of the first device considered an instrument is disputed. The oldest object that some refer to as a musical instrument. Some consensus dates early flutes to about 37,000 years ago, many early musical instruments were made from animal skins, bone, wood, and other non-durable materials. Musical instruments developed independently in many populated regions of the world, however, contact among civilizations caused rapid spread and adaptation of most instruments in places far from their origin. By the Middle Ages, instruments from Mesopotamia were in maritime Southeast Asia, development in the Americas occurred at a slower pace, but cultures of North, Central, and South America shared musical instruments. By 1400, musical instrument development slowed in areas and was dominated by the Occident. Musical instrument classification is a discipline in its own right, Instruments can be classified by their effective range, their material composition, their size, etc. However, the most common method, Hornbostel-Sachs, uses the means by which they produce sound. The academic study of instruments is called organology. Once humans moved from making sounds with their bodies—for example, by using objects to create music from sounds. Primitive instruments were designed to emulate natural sounds, and their purpose was ritual rather than entertainment. The concept of melody and the pursuit of musical composition were unknown to early players of musical instruments. A player sounding a flute to signal the start of a hunt does so without thought of the notion of making music. Musical instruments are constructed in an array of styles and shapes
Musical instrument
–
Anne Vallayer-Coster, Attributes of Music, 1770. This
still life painting depicts a variety of French Baroque musical instruments, such as a
natural horn,
transverse flute,
musette,
violin, and
lute.
Musical instrument
–
Found in
Slovenia, the
Divje Babe Flute is considered the world's
oldest known musical instrument
Musical instrument
–
Two
Aztec slit drums, called teponaztli. The characteristic " H " slits can be seen on the top of the drum in the foreground.
Musical instrument
–
Ancient Egyptian tomb painting depicting lute players,
18th Dynasty (c. 1350 BC)
4.
Woodwind
–
Woodwind instruments are a family of musical instruments within the more general category of wind instruments. There are two types of woodwind instruments, flutes and reed instruments. What differentiates these instruments from other instruments is the way in which they produce their sound. Examples are a saxophone, a bassoon and a piccolo, flutes produce sound by directing a focused stream of air below the edge of a hole in a cylindrical tube. The flute family can be divided into two sub-families, open flutes and closed flutes, to produce a sound with an open flute, the player is required to blow a stream of air across a sharp edge that then splits the airstream. This split airstream then acts upon the air contained within the flutes hollow causing it to vibrate. Examples of open flutes are the flute, panpipes and shakuhachi. Ancient flutes of this variety were often made from sections of plants such as grasses, reeds. Later, flutes were made of such as tin, copper. Modern concert flutes are made of high-grade metal alloys, usually containing nickel, silver, copper. To produce a sound with a flute, the player is required to blow air into a duct. This duct acts as a channel bringing the air to a sharp edge, as with the open flutes, the air is then split, this causes the column of air within the closed flute to vibrate and produce sound. Examples of this type of include the recorder, ocarina. Reed instruments produce sound by focusing air into a mouthpiece which then causes a reed, or reeds, similar to flutes, Reed pipes are also further divided into two types, single reed and double reed. Single-reed woodwinds produce sound by placing a reed onto the opening of a mouthpiece, when air is forced between the reed and the mouthpiece, the reed causes the air column in the instrument to vibrate and produce its unique sound. Single reed instruments include the clarinet, saxophone, and others such as the chalumeau, double-reed instruments use two precisely cut, small pieces of cane bound together at the base. This form of production has been estimated to have originated in the middle to late Neolithic period. The finished, bound reed is inserted into the instrument and vibrates as air is forced between the two pieces and this family of reed pipes is subdivided further into another two sub-families, exposed double reed, and capped double reed instruments
Woodwind
–
Alto and
tenor saxophone reeds
Woodwind
–
A piper playing the
bagpipes
5.
Renaissance music
–
Renaissance music is vocal and instrumental music written and performed in Europe during the Renaissance era. From this changing society emerged a common, unifying musical language, in particular the style of the Franco-Flemish school. The invention of the press in 1440 made it cheaper and easier to distribute music and musical theory texts on a wider geographic scale. Prior to the invention of printing, songs and music that were written down and music theory texts had to be hand-copied, demand for music as entertainment and as a leisure activity for educated amateurs increased with the emergence of a bourgeois class. These musicians were sought throughout Europe, particularly in Italy, where churches and aristocratic courts hired them as composers, performers. This reversed the situation from a hundred years earlier, opera, a dramatic staged genre in which singers are accompanied by instruments, arose at this time in Florence. Opera was developed as an attempt to resurrect the music of ancient Greece. Music was increasingly freed from constraints, and more variety was permitted in range, rhythm, harmony, form. In the Renaissance, music became a vehicle for personal expression, composers found ways to make vocal music more expressive of the texts they were setting. Secular music absorbed techniques from sacred music, and vice versa, popular secular forms such as the chanson and madrigal spread throughout Europe. Courts employed virtuoso performers, both singers and instrumentalists, Music also became more self-sufficient with its availability in printed form, existing for its own sake. Precursor versions of familiar modern instruments developed into new forms during the Renaissance. These instruments were modified to responding to the evolution of musical ideas, Early forms of modern woodwind and brass instruments like the bassoon and trombone also appeared, extending the range of sonic color and increasing the sound of instrumental ensembles. From the Renaissance era, notated secular and sacred music survives in quantity, including vocal and instrumental works, an enormous diversity of musical styles and genres flourished during the Renaissance. These can be heard on recordings made in the 20th and 21st century, including masses, motets, madrigals, chansons, accompanied songs, instrumental dances, beginning in the late 20th century, numerous early music ensembles were formed. One of the most pronounced features of early Renaissance European art music was the reliance on the interval of the third. Polyphony – the use of multiple, independent melodic lines, performed simultaneously – became increasingly elaborate throughout the 14th century, the beginning of the 15th century showed simplification, with the composers often striving for smoothness in the melodic parts. The modal characteristics of Renaissance music began to break down towards the end of the period with the use of root motions of fifths or fourths
Renaissance music
–
Musicians, ca 1600
Renaissance music
–
1611
woodcut of Josquin des Prez, copied from a now-lost oil painting done during his lifetime
Renaissance music
–
San Marco in the evening. The spacious, resonant interior was one of the inspirations for the music of the Venetian School.
Renaissance music
–
Hurdy-gurdy
6.
German language
–
German is a West Germanic language that is mainly spoken in Central Europe. It is the most widely spoken and official language in Germany, Austria, Switzerland, South Tyrol, the German-speaking Community of Belgium and it is also one of the three official languages of Luxembourg. Major languages which are most similar to German include other members of the West Germanic language branch, such as Afrikaans, Dutch, English, Luxembourgish and it is the second most widely spoken Germanic language, after English. One of the languages of the world, German is the first language of about 95 million people worldwide. The German speaking countries are ranked fifth in terms of publication of new books. German derives most of its vocabulary from the Germanic branch of the Indo-European language family, a portion of German words are derived from Latin and Greek, and fewer are borrowed from French and English. With slightly different standardized variants, German is a pluricentric language, like English, German is also notable for its broad spectrum of dialects, with many unique varieties existing in Europe and also other parts of the world. The history of the German language begins with the High German consonant shift during the migration period, when Martin Luther translated the Bible, he based his translation primarily on the standard bureaucratic language used in Saxony, also known as Meißner Deutsch. Copies of Luthers Bible featured a long list of glosses for each region that translated words which were unknown in the region into the regional dialect. Roman Catholics initially rejected Luthers translation, and tried to create their own Catholic standard of the German language – the difference in relation to Protestant German was minimal. It was not until the middle of the 18th century that a widely accepted standard was created, until about 1800, standard German was mainly a written language, in urban northern Germany, the local Low German dialects were spoken. Standard German, which was different, was often learned as a foreign language with uncertain pronunciation. Northern German pronunciation was considered the standard in prescriptive pronunciation guides though, however, German was the language of commerce and government in the Habsburg Empire, which encompassed a large area of Central and Eastern Europe. Until the mid-19th century, it was essentially the language of townspeople throughout most of the Empire and its use indicated that the speaker was a merchant or someone from an urban area, regardless of nationality. Some cities, such as Prague and Budapest, were gradually Germanized in the years after their incorporation into the Habsburg domain, others, such as Pozsony, were originally settled during the Habsburg period, and were primarily German at that time. Prague, Budapest and Bratislava as well as cities like Zagreb, the most comprehensive guide to the vocabulary of the German language is found within the Deutsches Wörterbuch. This dictionary was created by the Brothers Grimm and is composed of 16 parts which were issued between 1852 and 1860, in 1872, grammatical and orthographic rules first appeared in the Duden Handbook. In 1901, the 2nd Orthographical Conference ended with a standardization of the German language in its written form
German language
–
Old Frisian (Alt-Friesisch)
German language
–
The widespread popularity of the
Bible translated into German by
Martin Luther helped establish modern German
German language
–
Examples of German language in
Namibian everyday life
German language
–
German-language newspapers in the U.S. in 1922
7.
Old English language
–
Old English or Anglo-Saxon is the earliest historical form of the English language, spoken in England and southern and eastern Scotland in the early Middle Ages. It was brought to Great Britain by Anglo-Saxon settlers probably in the mid 5th century, Old English developed from a set of Anglo-Frisian or North Sea Germanic dialects originally spoken by Germanic tribes traditionally known as the Angles, Saxons, and Jutes. As the Anglo-Saxons became dominant in England, their language replaced the languages of Roman Britain, Common Brittonic, a Celtic language, Old English had four main dialects, associated with particular Anglo-Saxon kingdoms, Mercian, Northumbrian, Kentish and West Saxon. It was West Saxon that formed the basis for the standard of the later Old English period, although the dominant forms of Middle. The speech of eastern and northern parts of England was subject to strong Old Norse influence due to Scandinavian rule, Old English is one of the West Germanic languages, and its closest relatives are Old Frisian and Old Saxon. Like other old Germanic languages, it is different from Modern English. Old English grammar is similar to that of modern German, nouns, adjectives, pronouns, and verbs have many inflectional endings and forms. The oldest Old English inscriptions were using a runic system. Old English was not static, and its usage covered a period of 700 years, from the Anglo-Saxon settlement of Britain in the 5th century to the late 11th century, some time after the Norman invasion. While indicating that the establishment of dates is a process, Albert Baugh dates Old English from 450 to 1150, a period of full inflections. Perhaps around 85 per cent of Old English words are no longer in use, Old English is a West Germanic language, developing out of Ingvaeonic dialects from the 5th century. It came to be spoken over most of the territory of the Anglo-Saxon kingdoms which became the Kingdom of England and this included most of present-day England, as well as part of what is now southeastern Scotland, which for several centuries belonged to the Anglo-Saxon kingdom of Northumbria. Other parts of the island – Wales and most of Scotland – continued to use Celtic languages, Norse was also widely spoken in the parts of England which fell under Danish law. Anglo-Saxon literacy developed after Christianisation in the late 7th century, the oldest surviving text of Old English literature is Cædmons Hymn, composed between 658 and 680. There is a corpus of runic inscriptions from the 5th to 7th centuries. The Old English Latin alphabet was introduced around the 9th century, with the unification of the Anglo-Saxon kingdoms by Alfred the Great in the later 9th century, the language of government and literature became standardised around the West Saxon dialect. In Old English, typical of the development of literature, poetry arose before prose, a later literary standard, dating from the later 10th century, arose under the influence of Bishop Æthelwold of Winchester, and was followed by such writers as the prolific Ælfric of Eynsham. This form of the language is known as the Winchester standard and it is considered to represent the classical form of Old English
Old English language
–
A detail of the first page of the
Beowulf manuscript, showing the words "ofer hron rade", i.e. "over the whale's road (=sea)". It is an example of an Old English stylistic device, the
kenning.
Old English language
–
"Her swutelað seo gecwydrædnes ðe" Old English inscription over the arch of the south porticus in the 10th-century
St Mary's parish church, Breamore, Hampshire
Old English language
–
The first page of the
Beowulf manuscript with its opening Hƿæt ƿē Gārde/na ingēar dagum þēod cyninga / þrym ge frunon... "Listen! We of the Spear-Danes from days of yore have heard of the glory of the folk-kings..."
8.
English language
–
English /ˈɪŋɡlɪʃ/ is a West Germanic language that was first spoken in early medieval England and is now the global lingua franca. Named after the Angles, one of the Germanic tribes that migrated to England, English is either the official language or one of the official languages in almost 60 sovereign states. It is the third most common language in the world, after Mandarin. It is the most widely learned second language and a language of the United Nations, of the European Union. It is the most widely spoken Germanic language, accounting for at least 70% of speakers of this Indo-European branch, English has developed over the course of more than 1,400 years. The earliest forms of English, a set of Anglo-Frisian dialects brought to Great Britain by Anglo-Saxon settlers in the century, are called Old English. Middle English began in the late 11th century with the Norman conquest of England, Early Modern English began in the late 15th century with the introduction of the printing press to London and the King James Bible, and the start of the Great Vowel Shift. Through the worldwide influence of the British Empire, modern English spread around the world from the 17th to mid-20th centuries, English is an Indo-European language, and belongs to the West Germanic group of the Germanic languages. Most closely related to English are the Frisian languages, and English, Old Saxon and its descendent Low German languages are also closely related, and sometimes Low German, English, and Frisian are grouped together as the Ingvaeonic or North Sea Germanic languages. Modern English descends from Middle English, which in turn descends from Old English, particular dialects of Old and Middle English also developed into a number of other English languages, including Scots and the extinct Fingallian and Forth and Bargy dialects of Ireland. English is classified as a Germanic language because it shares new language features with other Germanic languages such as Dutch, German and these shared innovations show that the languages have descended from a single common ancestor, which linguists call Proto-Germanic. Through Grimms law, the word for foot begins with /f/ in Germanic languages, English is classified as an Anglo-Frisian language because Frisian and English share other features, such as the palatalisation of consonants that were velar consonants in Proto-Germanic. The earliest form of English is called Old English or Anglo-Saxon, in the fifth century, the Anglo-Saxons settled Britain and the Romans withdrew from Britain. England and English are named after the Angles, Old English was divided into four dialects, the Anglian dialects, Mercian and Northumbrian, and the Saxon dialects, Kentish and West Saxon. Through the educational reforms of King Alfred in the century and the influence of the kingdom of Wessex. The epic poem Beowulf is written in West Saxon, and the earliest English poem, Modern English developed mainly from Mercian, but the Scots language developed from Northumbrian. A few short inscriptions from the period of Old English were written using a runic script. By the sixth century, a Latin alphabet was adopted, written with half-uncial letterforms and it included the runic letters wynn ⟨ƿ⟩ and thorn ⟨þ⟩, and the modified Latin letters eth ⟨ð⟩, and ash ⟨æ⟩
English language
–
The opening to the Old English epic poem
Beowulf,
handwritten in
half-uncial script: Hƿæt ƿē Gārde/na ingēar dagum þēod cyninga / þrym ge frunon... "Listen! We of the Spear-Danes from days of yore have heard of the glory of the folk-kings..."
English language
–
Countries of the world where English is a majority native language
English language
–
Title page of Geoffrey Chaucer's
Canterbury Tales c.1400
9.
Crumpet
–
A crumpet /ˈkrʌmpᵻt/ is a griddle cake made from flour and yeast. An early reference to them comes from English Bible translator John Wycliffe in 1382 when he mentions the crompid cake, the early crumpets were hard pancakes cooked on a griddle, rather than the soft and spongy crumpets of the Victorian era, which were made with yeast. English crumpets are generally circular, roughly 8 centimetres in diameter and 2 centimetres thick and their shape comes from being restrained in the pan/griddle by a shallow ring. They have a flat top with many small pores and a chewy. They may be cooked until ready to eat warm from the pan but are frequently left slightly undercooked so that they may be cooled and stored before being eaten freshly toasted. They are often eaten with a spread of butter or an alternative, such as jam, honey, chocolate spread, margarine or yeast extract. The word spread initially to the West Midlands, where it became anglicised as pikelet, and subsequently to Cheshire, Lancashire, Yorkshire, and other areas of the north. A Scottish crumpet is essentially a pancake cooked in a different way, made from the same ingredients as a Scotch pancake. They are available plain, or as a fruit crumpet with raisins baked in, usually fried in a pan and served with a fried breakfast - they are sometimes served with butter. The ingredients include a leavening agent, usually baking powder, and different proportions of eggs, flour and it bears little resemblance to the English crumpet. This is the kind of crumpet in Scottish bakers shops, tea rooms. The South African version of the crumpet, a popular dessert, description and recipe on history. uk at the Wayback Machine
Crumpet
–
A buttered crumpet
Crumpet
–
Hot crumpets
Crumpet
–
A Scottish fruit crumpet folded over, behind a scotch pancake.
10.
Bagpipes
–
Bagpipes are a wind instrument using enclosed reeds fed from a constant reservoir of air in the form of a bag. The term bagpipe is equally correct in the singular or plural, though pipers usually refer to the bagpipes as the pipes, a set of bagpipes minimally consists of an air supply, a bag, a chanter, and usually at least one drone. Many bagpipes have more than one drone in various combinations, held in place in stocks—sockets that fasten the various pipes to the bag, the most common method of supplying air to the bag is through blowing into a blowpipe, or blowstick. In some pipes the player must cover the tip of the blowpipe with their tongue while inhaling, an innovation, dating from the 16th or 17th century, is the use of a bellows to supply air. In these pipes, sometimes called cauld wind pipes, air is not heated or moistened by the players breathing, the bag is an airtight reservoir that holds air and regulates its flow via arm pressure, allowing the player to maintain continuous even sound. The player keeps the bag inflated by blowing air into it through a blowpipe or pumping air into it with a bellows, materials used for bags vary widely, but the most common are the skins of local animals such as goats, dogs, sheep, and cows. More recently, bags made of materials including Gore-Tex have become much more common. A drawback of the bag is the potential for fungal spores to colonise the bag because of a reduction in necessary cleaning. An advantage of a bag is that they have a zip which allows the user to fit a more effective moisture trap to the inside of the bag. Bags cut from larger materials are usually saddle-stitched with an extra strip folded over the seam, holes are then cut to accommodate the stocks. The chanter is the pipe, played with two hands. Almost all bagpipes have at least one chanter, some pipes have two chanters, particularly those in North Africa, the Balkans in Southern Europe, and Southwest Asia. A chanter can be bored internally so that the walls are parallel for its full length. The chanter is usually open-ended, so there is no way for the player to stop the pipe from sounding. Thus most bagpipes share a constant, legato sound where there are no rests in the music, primarily because of this inability to stop playing, technical movements are used to break up notes and to create the illusion of articulation and accents. Because of their importance, these embellishments are often highly technical systems specific to each bagpipe, a few bagpipes have closed ends or stop the end on the players leg, so that when the player closes the chanter becomes silent. A practice chanter is a chanter without bag or drones, allowing a player to practice the instrument quietly, the term chanter is derived from the Latin cantare, or to sing, much like the modern French word chanteur. The note from the chanter is produced by a reed installed at its top, the reed may be a single or double reed
Bagpipes
–
Angel playing bagpipes in the
Thistle Chapel, Edinburgh
Bagpipes
–
A detail from the
Cantigas de Santa Maria showing bagpipes with one chanter and a parallel drone (Spain, 13th century).
Bagpipes
–
A detail from a painting by
Hieronymus Bosch showing two bagpipers (15th century).
Bagpipes
–
A Great Highland Bagpipe practice chanter
11.
Double reed
–
A double reed is a type of reed used to produce sound in various wind instruments. The term double reed comes from the fact there are two pieces of cane vibrating against each other. A single reed consists of one piece of cane which vibrates against a mouthpiece made of metal, hardened rubber, resin, the term double reeds can also refer collectively to the class of instruments which use double reeds. There are several differences, the most obvious being size, between various types of reeds, for example between that for a bassoon and that for an oboe or a cor anglais. Typically, Arundo donax cane is used for the making of double reeds, for bassoon reeds, tubes of this cane are first split lengthwise then gouged to a certain thickness. The chosen piece of cane is cut to shape and the centre portion is thinned. The cane is folded end to end to form the two blades of the reed, the unprofiled end of the cane is shaped into a tube with the aid of a mandrel and bound with three strategically placed wires. A turban made out of thread is added on the third wire and it provides a hand hold for the reed that isnt a sharp wire. The folded tip is cut off to allow the blades to vibrate and final adjustments to the interior of the using a reamer. The reed is then ready to fit to the bocal of the bassoon, note that there are many schools of thought and processes for making reeds. However, because the oboe does not have a bocal, the cane must be fastened to a metal tube, the staple is then inserted into the farrow at the upper end of the oboe. There are many different methods of making reeds and many variations of design have been developed, players can buy reeds either ready-made, or in various stages of formation, such as part-scraped, reed blanks, or buy the staples and cane separately. Cane is sold in forms, as tubes, gouged, gouged and shaped. Bassoon cane has the option of being profiled before purchase. Cane from several different regions is used in reed making, traditionally from southern France, there are also many options with regard to staples, shaping equipment, and so forth, which all have a subtle effect on the tone quality a reed will produce. While cane is by far the most common material for double reeds, reeds made out of synthetic materials may be used, these reeds often last longer and are less sensitive to temperature and humidity flucutations. Most reeds produced from synthetic materials have a quality that is dissimilar to that of a cane reed and are not favored by musicians. However, some recent manufacturers produce synthetic reeds that are used in a professional setting, oboe double reeds are about 7 mm in width
Double reed
–
Bassoon reeds
Double reed
–
A bassoon reed
Double reed
–
An oboe reed
12.
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 correctly referred to as Schreierpfeife. Rauschpfeifes differ from cornamusen mainly in the shape of the bore and this bore 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. However, the instruments in the woodcut could just as easily be cylindrical bore capped douçaine-like instruments and it would appear then that the term Schreierpfeife may have been used variously for the two types of loud capped reed instruments. Consorts of rauschpfeiffen are found in museum instrument collections in Berlin, another solitary example is found in the Kunsthistorisches Museum in Vienna. Examples are currently being made and played by music enthusiasts worldwide. German Heinrich Moeck company produced two instruments in sopranino and soprano which visually refer to the Naumburg pipes. Because for quite some time, Moeck was the manufacturer in Germany to produce rauschpfeifes in large numbers. The rauschpfeifes in Berlin are technically almost twice as large as they need to be, the tone holes of the instruments cover only half of the body. Because of this, Moecks instruments have a number of holes on the back. After Moeck discontinued the production of rauschpfeifen, manufacturers based their instruments on the chanters of German bagpipes, the vast majority of the instruments are built in open, German recorder fingering system, and have a tonal range of a ninth. Their appearance is similar to the chanter of the contemporary German bagpipe. As a result, many newly built rauschpfeifes have significantly larger bells than their historical ancestors, in addition, although having the same musical range, they are not quite half as long as the extant instruments of the Naumburg collection. A further technical aspect is that modern instruments use standard reeds from various kinds of bagpipes
Rauschpfeife
–
A sopranino rauschpfeife being played
Rauschpfeife
–
Sopranino and soprano rauschpfeifes
Rauschpfeife
–
Sopranino rauschpfeife with windcap removed
13.
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 and 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 duduk. The body of the shawm is usually turned from a piece of wood. Beginning in the 16th century, shawms were made in sizes, from sopranino to great bass. All later shawms have at least one key allowing an extension of the compass. 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 portion of the reed protrudes past the pirouette, the player has only limited contact with the reed. In English the name only first appears in the 14th century, 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 syllable in forms such as schalme, shaume, shawme. In Portugal there is an instrument called charamela, and the name of the Italian shawm is ciaramella, 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 and nakers and 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 century consisted of a slide trumpet playing popular melodies. 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 shawm had been modulated somewhat by a narrowing of the bore. 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 bass in Bb, two octaves and a major third below the soprano in D. However, the larger sizes were unwieldy. The shawm became standard equipment for bands, or waits
Shawm
–
Shawm
Shawm
14.
Consort of instruments
–
A consort of instruments was a phrase used in England during the 16th and 17th centuries to indicate an instrumental ensemble. These could be of the same or a variety of instruments, Consort music enjoyed considerable popularity at court and in households of the wealthy in the Elizabethan era and many pieces were written for consorts by the major composers of the period. In the Baroque era consort music was absorbed into chamber music, the earliest documented example of the English word consort in a musical sense is in George Gascoigne’s The Princelye Pleasures. Major forms of music composed for consorts included, fantasias, cantus firmus settings, variations, dances or ayres, composers of consort music during the Elizabethan era include John Dowland, Anthony Holborne, and William Byrd. The principal Jacobean era composers included Thomas Lupo, Orlando Gibbons, John Coprario, William Lawes was a principal composer during the Caroline era. Later 17th-century composers included Christopher Simpson, Matthew Locke and Henry Purcell, sherwood Consort Southern Consort of Voices Taverner Consort The Tudor Consort Chest of viols Viol Video of consort of viols Robins, Brian. The English Viol Consort in the Tudor Era 2008 Viol Extravaganza Collection of viol consort videos
Consort of instruments
–
The Smithsonian Consort of Viols
15.
Johann Hermann Schein
–
Johann Hermann Schein was a German composer of the early Baroque era. He was born in Grünhain and died in Leipzig and he was one of the first to import the early Italian stylistic innovations into German music, and was one of the most polished composers of the period. On the death of his father, Schein moved to Dresden where he joined the choir of the Elector of Saxony as a boy soprano. In addition to singing in the choir, he received a musical training with Rogier Michael, the Kapellmeister. From 1603 to 1607 he studied at Pforta, and from 1608 to 1612 attended the University of Leipzig, unlike his friend Heinrich Schütz, he was afflicted with poor health, and was not to live a happy or long life. His wife died in childbirth, four of his five children died in infancy, he died at age 44, having suffered from tuberculosis, gout, scurvy, and a kidney disorder. Schein was one of the first to absorb the innovations of the Italian Baroque—monody, while Schütz made more than one trip to Italy, Schein apparently spent his entire life in Germany, making his grasp of the Italianate style all the more remarkable. His early concertato music seems to have modeled on Lodovico Grossi da Viadanas Cento concerti ecclesiastici. Unlike Schütz, who concentrated mainly on sacred music, Schein wrote sacred and secular music in equal quantities. In his secular music he wrote all of his own texts. The contrast between the two kinds of music can be quite extreme, most likely they were composed as dinner music for the courts of Weissenfels and Weimar, and were intended to be performed on viols. They consist of dances, a pavan-galliard, a courante, each suite in the Banchetto is unified by mode as well as by theme. ISBN 0-393-09745-5 Article Johann Hermann Schein, in The New Grove Dictionary of Music and Musicians, ISBN 1-56159-174-2 Free scores by Johann Hermann Schein at the International Music Score Library Project Free scores by Johann Schein in the Choral Public Domain Library
Johann Hermann Schein
–
Johann Hermann Schein
16.
Michael Praetorius
–
Michael Praetorius was a German composer, organist, and music theorist. Praetorius was born Michael Schultze, the youngest son of a Lutheran pastor, in Creuzburg, after attending school in Torgau and Zerbst, he studied divinity and philosophy at the University of Frankfurt. He was fluent in a number of languages, after receiving his musical education, from 1587 he served as organist at the Marienkirche in Frankfurt. From 1592/3 he served at the court in Wolfenbüttel, under the employ of Henry Julius and he served in the dukes State Orchestra, first as organist and later as Kapellmeister. His first compositions appeared around 1602/3 and their publication primarily reflects the care for music at the court of Gröningen. The motets of this collection were the first in Germany to make use of the new Italian performance practices, as a result and these modern pieces mark the end of his middle creative period. The nine parts of his Musae Sioniae and the 1611 published collections of music follow the German Protestant chorale style. With these, at the behest of a circle of orthodox Lutherans, he followed the Duchess Elizabeth, in place of popular music, one now expected religious music from Praetorius. When the duke died in 1613 and was succeeded by Frederick Ulrich, from 1613 he also worked at the court of John George I, Elector of Saxony at Dresden, where he was responsible for festive music. He was exposed to the latest Italian music, including the works of the Venetian School. His subsequent development of the form of the concerto, particularly the polychoral variety. The solo-voice, polychoral, and instrumental compositions Praetorius prepared for these events mark the period of his artistic creativity. Until his death, Praetorius stayed at the court in Dresden, Michael Praetorius is said to have died on his 50th birthday, in Wolfenbüttel, Germany and is entombed in a vault beneath the organ of the Marienkirche there. His family name in German appears in various forms including Schultze, Schulte, Schultheiss, Schulz, Praetorius was the conventional Latinized form of this family name, Schultze meaning mayor in German, and a Praetor was a Roman official. Praetorius was a composer, his compositions show the influence of Italian composers. He wrote many works for the Lutheran church, and Terpsichore, a compendium of more than 300 instrumental dances. Many of Praetorius choral compositions were scored for several mini-choirs situated in locations in the church for multi-phonic effect. The familiar harmonization of Es ist ein Ros entsprungen was written by Praetorius in 1609, Praetorius was the greatest musical academic of his day and the Germanic writer of music best known to other 17th-century musicians
Michael Praetorius
–
Michael Praetorius
Michael Praetorius
–
An illustration of several musical instruments from
Syntagma Musicum
Michael Praetorius
–
Hymns
17.
Trombone
–
The trombone is a musical instrument in the brass family. Like all brass instruments, sound is produced when the players vibrating lips cause the air column inside the instrument to vibrate, nearly all trombones have a telescoping slide mechanism that varies the length of the instrument to change the pitch. Many modern trombone models also utilize a rotary valve as a means to lower pitch of the instrument, variants such as the valve trombone and superbone have three valves like those on the trumpet. The word trombone derives from Italian tromba and -one, so the name means large trumpet, the trombone has a predominantly cylindrical bore like its valved counterpart the baritone and in contrast to its conical valved counterparts, the euphonium and the horn. The most frequently encountered trombones are the trombone and bass trombone. The most common variant, the tenor, is an instrument pitched in B♭, an octave below the B♭ trumpet. A person who plays the trombone is called a trombonist or trombone player, the trombone is a predominantly cylindrical tube bent into an elongated S shape. Rather than being completely cylindrical from end to end, the tube is a series of tapers with the smallest at the mouthpiece receiver. The design of these affects the intonation of the instrument. As with other instruments, sound is produced by blowing air through pursed lips producing a vibration that creates a standing wave in the instrument. The detachable cup-shaped mouthpiece is similar to that of the baritone horn and it has the venturi, a small constriction of the air column that adds resistance greatly affecting the tone of the instrument, and is inserted into the mouthpiece receiver in the slide section. The slide section consists of a leadpipe, the inner and outer tubes. Modern stays are soldered, while sackbuts were made with loose, the slide, the most distinctive feature of the trombone, allows the player to extend the length of the air column, lowering the pitch. To prevent friction from slowing the action of the slide, additional sleeves were developed during the Renaissance, and this part of the slide must be lubricated frequently. Additional tubing connects the slide to the bell of the instrument through a neckpipe, for example, second position A is not in exactly the same place on the slide as second position E. Many types of trombone also include one or more rotary valves used to increase the length of the instrument by directing the air flow through additional tubing. This allows the instrument to reach notes that are not possible without the valve as well as play other notes in alternate positions. Like the trumpet, the trombone is considered a cylindrical bore instrument since it has sections of tubing, principally in the slide section
Trombone
–
A tenor trombone
Trombone
–
A disassembled trombone. From left to right: mouthpiece, outer slide, bell section, inner slide.
Trombone
–
A tenor trombone mouthpiece
Trombone
–
The trombone section of the Eau Claire Municipal Band is featured at a Fourth of July celebration in Owen Park.
18.
Dulcian
–
The dulcian is a Renaissance woodwind instrument, with a double reed and a folded conical bore. Equivalent terms include English, curtal, German, Dulzian, Spanish, bajón, French, douçaine, Dutch, dulciaan, the predecessor of the modern bassoon, it flourished between 1550 and 1700, but was probably invented earlier. Towards the end of this period it co-existed with, and was superseded by the baroque bassoon. It was played in both secular and sacred contexts, throughout northern and western Europe, as well as in the New World. The dulcian is generally made from a piece of maple, with the bores being drilled and reamed first. The reed is attached to the end of a metal bocal, unlike the bassoon it normally has a flared bell, sometimes made from a separate piece of timber. This bell can sometimes be muted, the mute being either detachable, the outside of the instrument can also be covered in leather, like the cornett. Although the bass in F is the most common size, the comes in many other sizes, tenor, alto. There are also examples of a quart bass dulcian in C, the range of each instrument is two and a half octaves, centred on the range of the corresponding singing voice, for example, the bass ranges from C2, to G4. The reed on the dulcian is fully exposed, allowing the player to control the sound and intonation by embouchure. At the time it first appeared, other double reed instruments either had the fully enclosed, like the crumhorn or the bagpipe, or partially enclosed by a pirouette. The instrument seems to have been in use by the middle of the sixteenth century. A set of instruments in various sizes exist in Brussels, these have a mark of Melchor and are thought to be Spanish. Another well known example is a later instrument in Linz, leather covered. The latest commonly copied example is by Denner, c,1700, which also has a built in mute. Modern copies of the Linz instrument have a sound and reach the high notes more easily. The dulcian is an instrument, capable of being loud enough to play in outdoor bands, quiet enough for chamber music. There are explicit dulcian parts in the sonatas by Dario Castello, Dulcian Home Page Hans Mons excellent site Curtal, Dulcian, Bajón – A History of the Precursor to the Bassoon, Maggie Kilbeys comprehensive book IDRS, many useful articles
Dulcian
–
Dulcian, 1700,
Museu de la Música de Barcelona
Dulcian
–
Dulcians in Theatrum Instrumentorum (Michael Praetorius - 1620)
Dulcian
–
Soprano, alto, alto, tenor and bass dulcians from the Brussels collection.
19.
Ursula Dubosarsky
–
Ursula Dubosarsky is an Australian writer of fiction and non-fiction for children and young adults, whose work is characterised by a childs vision and voice of both clarity and ambiguity. She has won nine national literary prizes, including five New South Wales Premiers Literary Awards, more than any other writer in the Awards 30-year history. She is the author of illustrated books and novels, and also three works of non-fiction about the English language, grammar and etymology for children, featuring a character known as The Word Spy. These Word Spy books, illustrated by Tohby Riddle, have won the New South Wales Premiers Literary Award, in the United States and Canada The Word Spy is published under the title The Word Snoop. Three of her books have been adapted for theatre - The Red Shoe, The Terrible Plop, in 2014, the annual Christmas Windows of the department store David Jones were based on her story Reindeers Christmas Surprise. She is the child of Peter Coleman and Verna Susannah Coleman. Her name was suggested by the character of Ursula Brangwen in the 1915 novel The Rainbow by D. H. Lawrence and she attended SCEGGS Darlinghurst and Sydney University and later Macquarie University. She is a Honorary Associate in the Department of English at Macquarie University and has taught courses in literature at Sydney University. The Red Shoe was staged by the Jigsaw Theatre, a musical version of The Terrible Plop was staged by the Windmill Theatre in Adelaide, Brisbane and Canberra, Sydney, regional Victoria, Queensland and Darwin. Plop. had season in the United States in 2012, including three weeks at the New Victory Theater in New York, locus Looks at Books, Divers Hands
Ursula Dubosarsky
–
photo by Gordon Flynn
20.
International Standard Book Number
–
The International Standard Book Number is a unique numeric commercial book identifier. An ISBN is assigned to each edition and variation of a book, for example, an e-book, a paperback and a hardcover edition of the same book would each have a different ISBN. The ISBN is 13 digits long if assigned on or after 1 January 2007, the method of assigning an ISBN is nation-based and varies from country to country, often depending on how large the publishing industry is within a country. The initial ISBN configuration of recognition was generated in 1967 based upon the 9-digit Standard Book Numbering created in 1966, the 10-digit ISBN format was developed by the International Organization for Standardization and was published in 1970 as international standard ISO2108. Occasionally, a book may appear without a printed ISBN if it is printed privately or the author does not follow the usual ISBN procedure, however, this can be rectified later. Another identifier, the International Standard Serial Number, identifies periodical publications such as magazines, the ISBN configuration of recognition was generated in 1967 in the United Kingdom by David Whitaker and in 1968 in the US by Emery Koltay. The 10-digit ISBN format was developed by the International Organization for Standardization and was published in 1970 as international standard ISO2108, the United Kingdom continued to use the 9-digit SBN code until 1974. The ISO on-line facility only refers back to 1978, an SBN may be converted to an ISBN by prefixing the digit 0. For example, the edition of Mr. J. G. Reeder Returns, published by Hodder in 1965, has SBN340013818 -340 indicating the publisher,01381 their serial number. This can be converted to ISBN 0-340-01381-8, the check digit does not need to be re-calculated, since 1 January 2007, ISBNs have contained 13 digits, a format that is compatible with Bookland European Article Number EAN-13s. An ISBN is assigned to each edition and variation of a book, for example, an ebook, a paperback, and a hardcover edition of the same book would each have a different ISBN. The ISBN is 13 digits long if assigned on or after 1 January 2007, a 13-digit ISBN can be separated into its parts, and when this is done it is customary to separate the parts with hyphens or spaces. Separating the parts of a 10-digit ISBN is also done with either hyphens or spaces, figuring out how to correctly separate a given ISBN number is complicated, because most of the parts do not use a fixed number of digits. ISBN issuance is country-specific, in that ISBNs are issued by the ISBN registration agency that is responsible for country or territory regardless of the publication language. Some ISBN registration agencies are based in national libraries or within ministries of culture, in other cases, the ISBN registration service is provided by organisations such as bibliographic data providers that are not government funded. In Canada, ISBNs are issued at no cost with the purpose of encouraging Canadian culture. In the United Kingdom, United States, and some countries, where the service is provided by non-government-funded organisations. Australia, ISBNs are issued by the library services agency Thorpe-Bowker
International Standard Book Number
–
A 13-digit ISBN, 978-3-16-148410-0, as represented by an
EAN-13 bar code
21.
Victor-Charles Mahillon
–
Victor-Charles Mahillon was a Belgian musician and writer on musical topics. He built, collected, and described more than 1500 musical instruments, the son of Charles Mahillon, he started working at his fathers factory of musical instruments in 1865. In 1869, he started the musical journal LEcho musical, which ran until 1886 and he was the first curator of the instrument collection at the Brussels Royal Music Conservatory from 1879 and contributed many of his own instruments to the collection. He had a deep interest in the science but especially that pertaining to wind instruments. While his work in acoustics was advanced for the time, and has historical interest. His various articles that appeared in the Encyclopædia Britannica, ninth edition, are still of interest, in 1885 he provided instruments to Alfred James Hipkins for use in a series of concerts at the International Inventions Exhibition in London. In 1890 he collaborated with Brian Greene to develop much of the more in-depth classifications of idiophones and his classification of instruments was later adopted by Erich von Hornbostel and Curt Sachs, and is still in use today. 1919, Commander of the Order of Leopold
Victor-Charles Mahillon
–
Horn by Mahillon
Victor-Charles Mahillon
–
Aida trumpets by Mahillon
22.
New International Encyclopedia
–
The New International Encyclopedia was an American encyclopedia first published in 1902 by Dodd, Mead and Company. It descended from the International Cyclopaedia and was updated in 1906,1914 and 1926, the New International Encyclopedia was the successor of the International Cyclopaedia. Initially, the International Cyclopaedia was largely a reprint of Aldens Library of Universal Knowledge, the local Cyclopaedia was much improved by editors Harry Thurston Peck and Selim Peabody. The title was changed to New International Encyclopedia in 1902, with editors Harry Thurston Peck, Daniel Coit Gilman, in 1906 the New International Encyclopedia was expanded from 17 volumes to 20. The 2nd edition appeared in 1914 in 24 volumes, set up from new type and it was very strong in biography. The 1926 material was printed in Cambridge, Massachusetts, by The University Press, boston Bookbinding Company of Cambridge produced the covers. Thirteen books enclosing twenty-three volumes comprise the encyclopedia, which includes a supplement after Volume 23, each book contains about 1600 pages. A great deal of material is recorded in the New International Encyclopedia. An early description of Adolf Hitler and his activities from 1920 to 1924 is in the supplement to the 1926 edition, many of the names used to describe the scientific identities of plants and animals are now obsolete. Numerous colorful maps which display the nations, states, colonies, the maps are valuable for their depictions of national and colonial borders in Europe, Asia, and Africa at the time of World War I. Drawings, illustrations, and photographs are plentiful, more than 500 men, and some women, submitted and composed the information contained in the New International Encyclopedia. Editors of the First Edition Daniel Coit Gilman, LL. D, President of Johns Hopkins University, President of Carnegie Institution. Frank Moore Colby, M. A. formerly Professor in New York University, editors of the Second Edition Frank Moore Colby, M. A. Talcott Williams, LL. D. Director of the School of Journalism, Columbia University, media related to New International Encyclopedia at Wikimedia Commons 1914 second ed
New International Encyclopedia
–
Marsupials
23.
Piccolo oboe
–
The piccolo oboe, also known as the piccoloboe and historically called an oboe musette, is the smallest and highest pitched member of the oboe family. Pitched in E♭ or F above the regular oboe, the oboe is a sopranino version of the oboe. Piccolo oboes are produced by the French makers F. Lorée, Lorée calls its instrument piccolo oboe or oboe musette, while Marigaux and Patricola call their instruments simply oboe musette. As of 2006, a new instrument typically sold for US$6, the instrument has found the most use in chamber and contemporary music, where it is valued for its unusual tone colour. It is also employed in double-reed ensembles such as Amoris, perhaps the best-known pieces requiring piccolo oboe are Solo for Oboe Instruments and Concerto for Oboe and Orchestra No. 2, both by Bruno Maderna, as well as Ar-Loth by Paolo Renosto, Oboe Piccolo heckelphone F. Lorée page with description and photograph Wayback archive of Amoris International Musette page WIMA scores for oboe family instruments
Piccolo oboe
–
A piccolo oboe with two-key action.
Piccolo oboe
–
Two oboe musette players from the
Cantigas de Santa Maria (13th century).
24.
Oboe
–
Oboes /ˈoʊboʊ/ OH-boh are a family of double reed woodwind musical instruments. The most common oboe plays in the treble or soprano range, oboes are usually made of wood, but there are also oboes made of synthetic materials. A soprano oboe measures roughly 65 cm long, with keys, a conical bore. Sound is produced by blowing into the reed and vibrating a column of air, the distinctive oboe tone is versatile, and has been described as bright. When the term oboe is used alone, it is taken to mean the standard treble instrument rather than other instruments of the family. In English, prior to 1770, the instrument was called a hautbois, hoboy. The spelling of oboe was adopted into English c.1770 from the Italian oboè, a musician who plays the oboe is called an oboist or simply an oboe player. In comparison to other woodwind instruments, the treble oboe is sometimes referred to as having a clear. The Sprightly Companion, a book published by Henry Playford in 1695, describes the oboe as Majestical and Stately. Humorously, the sound of the oboe is described in the play Angels in America as like that of a if the duck were a songbird. The rich timbre of the oboe is derived from its conical bore, as a result, oboes are readily audible over other instruments in large ensembles. The highest note of the oboe is a lower than the nominally highest note of the B♭ clarinet. Since the clarinet has a range of notes, the lowest note of the B♭ clarinet is significantly deeper than the lowest note of the oboe. Music for the oboe is written in concert pitch. Orchestras normally tune to a concert A played by the oboe, according to the League of American Orchestras, this is done because the pitch of the oboe is secure and its penetrating sound makes it ideal for tuning purposes. The pitch of the oboe is affected by the way in which the reed is made. The reed has a significant effect on the sound of the instrument, Variations in cane and other construction materials, the age of the reed, and differences in scrape and length all affect the pitch of the instrument. German and French reeds, for instance, differ in many ways, weather conditions such as temperature and humidity also affect the pitch
Oboe
–
A modern oboe with a reed
Oboe
–
Classical oboe, copy by Sand Dalton of an original by Johann Friedrich Floth, c. 1805
Oboe
–
The members of the oboe family from top:
heckelphone,
bass oboe,
cor anglais,
oboe d'amore, regular oboe, and
piccolo oboe
Oboe
–
Oboist
Albrecht Mayer preparing reeds for use. Most oboists scrape their own reeds to achieve the desired tone and response
25.
Cor anglais
–
The cor anglais or English horn in North America, is a double-reed woodwind instrument in the oboe family. It is approximately one and a half times the length of an oboe, the cor anglais is a transposing instrument pitched in F, a perfect fifth lower than the oboe. This means that music for the cor anglais is written a fifth higher than the instrument actually sounds. The fingering and playing technique used for the cor anglais are essentially the same as those of the oboe, the cor anglais normally lacks the lowest B♭ key found on most oboes and so its sounding range stretches from E3 below middle C to C6 two octaves above middle C. The pear-shaped bell of the cor anglais gives it a more covered timbre than the oboe, the cor anglais is perceived to have a more mellow and plaintive tone than the oboe. Its appearance differs from the oboe in that the reed is attached to a bent metal tube called the bocal, or crook. The cor anglais is usually notated in the treble clef, a fifth higher than sounding. Some composers notated it in the bass clef, when the register was persistently used. Alto clef written at sounding pitch is used, even by as late a composer as Sergei Prokofiev. In late-18th- and early-19th-century Italy, where the instrument was played by bassoonists instead of oboists. French operatic composers up to Fromental Halévy notated the instrument at sounding pitch in the mezzo-soprano clef, although the instrument usually descends only to low B♮, continental instruments with an extension to low B♭ have existed since early in the 19th century. Examples of works requiring this note include Arnold Schoenbergs Gurre-Lieder and Gustav Mahlers Das Lied von der Erde, antonín Dvořák, in his Scherzo Capriccioso, even writes for the cor anglais down to low A, though it seems unlikely that such an extension ever existed. Reeds used to play the cor anglais are similar to those used for an oboe, consisting of a piece of cane folded in two. While the cane on a reed is mounted on a small metal tube partially covered in cork, there is no such cork on a cor anglais reed. The cane part of the reed is wider and longer than that of the oboe, unlike American style oboe reeds, cor anglais reeds typically have wire at the base, approximately 5 mm from the top of the string used to attach the cane to the staple. This wire serves to hold the two blades of cane together and stabilize tone and pitch. Perhaps the best-known makers of modern cors anglais are the French firms of F. Lorée, Marigaux and Rigoutat, the British firm of T. W. Howarth, instruments from smaller makers, such as A. Laubin, are also sought after. Fox has recently made some instruments in plastic resin and in maple, the instrument originated in Silesia about 1720, when a bulb bell was fitted to a curved oboe da caccia-type body by the Weigel family of Breslau
Cor anglais
–
Cor anglais or English horn
Cor anglais
–
Opening motive from the 2nd movement (Largo) of
Dvořák 's
Symphony No. 9, From the New World
26.
Bass oboe
–
The bass oboe or baritone oboe is a double reed instrument in the woodwind family. It is about twice the size of an oboe and sounds an octave lower, it has a deep, full tone somewhat akin to that of its higher-pitched cousin. The bass oboe is notated in the treble clef, sounding one octave lower than written. Its lowest note is B2, one octave and a semitone below middle C, the bass oboe uses its own double reed, similar to but larger than that of the English horn. The instrument is known popularly as the oboe in the English language. The bass designation is in resonance with that of the flute in the flute family and the bass clarinet in that family. Early bass oboes were modeled after bassoons, with a joint and bocal and some holes drilled obliquely. The concept of the oboe as an enlarged English horn survived. As a result, it is not always clear in English orchestral works of the early 20th century which of the two instruments is intended when the composer requests bass oboe. The instrument has been manufactured sporadically by various companies, including F. Lorée, Marigaux, Rigoutat, Fossati and it is usually a special order instrument, and its purchase price normally exceeds that of a top-of-the-line English horn. Another similar instrument, the Lupophon, has developed by Guntram Wolf. The bass oboe is also featured in the First Interlude of Sir Michael Tippetts Triple Concerto. There is also a substantial solo in the second movement of Thomas Ades Asyla. Frederick Delius scored for the oboe in a number of works, including Songs of Sunset, A Mass of Life, Requiem, An Arabesque, Fennimore and Gerda. 1, however, the latest research reveals that despite his use of this term, arnold Bax calls for it in his Symphony No. 1, and Havergal Brian requires an instrument in both the Gothic Symphony and his Symphony No.4 Das Siegeslied, percy Grainger includes the bass oboe in Childrens March and The Warriors. The bass oboe has not as yet come into its own as a solo instrument, the work was written for the Canadian performer Lawrence Cherney, who uses a bass oboe manufactured by F. Lorée. Robert Morans Survivor From Darmstadt, for nine amplified bass oboes, was commissioned by oboist Nora Post, at least one sonata for bass oboe and piano, by Simon Zaleski, has been written
Bass oboe
–
Bass Oboe
27.
Bassoon
–
The bassoon is a woodwind instrument in the double reed family that typically plays music written in the bass and tenor clefs, and occasionally the treble. Appearing in its form in the 19th century, the bassoon figures prominently in orchestral, concert band. The bassoon is an instrument known for its distinctive tone color, wide range, variety of character. Listeners often compare its warm, dark, reedy timbre to that of a baritone voice. Someone who plays the bassoon is called a bassoonist, the word bassoon comes from French basson and from Italian bassone. However, the Italian name for the instrument is fagotto. B♭1–C5 The range of the bassoon begins at B♭1 and extends upward over three octaves, roughly to the G above the treble staff, higher notes are possible but difficult to produce, and rarely called for, orchestral and concert band parts rarely go higher than C5 or D5. Even Stravinskys famously difficult opening solo in The Rite of Spring only ascends to D5, a1 is possible with a special extension to the instrument—see Extended techniques below. The bassoon disassembles into six pieces, including the reed. Bassoons are double reed instruments like the oboe and the English horn, a modern beginners bassoon is generally made of maple, with medium-hardness types such as sycamore maple and sugar maple preferred. Both bore and tone holes are precision-machined, and each instrument is finished by hand for proper tuning and this ensures coverage by the fingers of the average adult hand. Wooden instruments are lined with hard rubber along the interior of the wing and boot joints to prevent damage from moisture, the end of the bell is usually fitted with a ring, either of metal, plastic or ivory. The joints between sections consist of a tenon fitting into a socket, the tenons are wrapped in either cork or string as a seal against air leaks. The bocal connects the reed to the rest of the instrument and is inserted into a socket at the top of the wing joint, bocals come in many different lengths and styles, depending on the desired tuning and playing characteristics. Folded upon itself, the bassoon stands 1.34 m tall, there are also short-reach bassoons made for the benefit of young or petite players. The origins of the dulcian are obscure, but by the century it was available in as many as eight different sizes. Otherwise, dulcian technique was rather primitive, with eight finger holes, the dulcian came to be known as fagotto in Italy. However, the etymology that equates fagotto with bundle of sticks is somewhat misleading
Bassoon
–
Two views of a Renard model 220 bassoon
Bassoon
–
Dulcians and
racketts, from the Syntagma musicum by
Michael Praetorius.
Bassoon
–
Heckel system bassoon from 1870
Bassoon
–
Edgar Degas, L'Orchestre de L'Opera, (1868)
28.
Contrabassoon
–
The contrabassoon, also known as the double bassoon or bass bassoon is a larger version of the bassoon, sounding an octave lower. Its technique is similar to its cousin, with a few notable differences. The reed is considerably larger than the bassoons, at 65–75 mm in length as compared to 53–58 mm for most bassoon reeds. The large blades allow ample vibration that produces the low register of the instrument, the contrabassoon reed is similar to an average bassoons in that scraping the reed affects both the intonation and response of the instrument. The fingering of the contrabassoon is slightly different than that of the bassoon, particularly at the register change and in the extreme high range. The instrument is twice as long, curves around on itself twice, additional support is sometimes given by a strap around the players neck. A wider hand position is required, as the primary finger keys are widely spaced. The contrabassoon has a key to expel condensation and a tuning slide for gross pitch adjustments. The instrument comes in a few pieces, some models cannot be disassembled without a screwdriver, sometimes, however, the bell can be detached, and instruments with a low A extension often come in two parts. The contrabassoon is a very deep sounding woodwind instrument that plays in the same register as the tuba. It has a range beginning at B♭0 and extending up three octaves and a major third to D4. Donald Erb and Kalevi Aho write even higher in their concertos for the instrument, the instrument is notated an octave above sounding pitch in bass clef, with tenor or even treble clef called for in high passages. Tonally, it sounds much like the bassoon except for an organ pedal quality in the lowest octave of its range which provides a solid underpinning to the orchestra or concert band. The lowest range, in comparison with the bassoon, can be played quieter than the bassoon can, while prominent in solo and small ensemble situations, the sound can be completely obscured in the volume of the full orchestra or concert band. The contrabassoon was developed, especially in England, in the century, the oldest surviving instrument. It was around that time that the contrabassoon began gaining acceptance in church music, however, until the late 19th century, the instrument typically had a weak tone and poor intonation. For more than a century, between 1880 and 2000, Heckel’s design remained relatively unchanged, chip Owen at the American company, Fox, began manufacturing an instrument in 1971 with some improvements. Generally, during the 20th century changes to the instrument were limited to an upper vent key near the socket, a tuning slide
Contrabassoon
–
Contrabassoon
Contrabassoon
–
Written pitch, sounds one
octave lower Sounding pitch
29.
Sarrusophone
–
The sarrusophones are a family of transposing musical instruments patented and placed into production by Pierre-Louis Gautrot in 1856. It was named after the French bandmaster Pierre-Auguste Sarrus who is credited with the concept of the instrument, the instrument was intended to serve as a replacement in wind bands for the oboe and bassoon which, at that time, lacked the carrying power required for outdoor band music. The traditional conventional range of the saxophone is written B♭-F, initially, Gautrot advertised the range of the sarrusophone to high F as well, but later fingering charts indicated a range to high G. Sometime after 1868, Gautrot also released a chart indicating fingerings higher still up to a top B-flat. All members of the family are made of metal, with a conical bore. Like the oboe and bassoon, all sizes of sarrusophone were originally designed to be played with a double reed, later, single reed mouthpieces were developed which resemble alto or soprano saxophone mouthpieces. It is unclear if these were available for all sizes of the sarrusophone family and this similarity caused Adolphe Sax to file and lose at least one lawsuit against Gautrot, claiming infringement upon his patent for the saxophone. Sax lost on the grounds that the produced by the two families of instruments is markedly different, despite their mechanical similarities. However, because the sarrusophone never gained acceptance, makers were not inclined to develop its mechanism to the same extent as that of the saxophone. Features of the sarrusophones mechanism generally include, Non-automatic octave keys, from sopranino through bass,2 octave keys. The contra basses have 3, the 3rd key being used for the notes D and E♭ directly above the break, only No articulated G♯, bis B♭, F♯ trill keys or 1/1. The top and bottom key stacks are not linked and this key can also be used to play high D as well. This may be taken to be an equivalent of the high D palm key of a saxophone, No palm keys for playing the top range. Using the non-automatic register keys, 3rd harmonics are easily available, additionally on some instruments made by Buffet in the early 20th century, the G♯ key is semi-articulated so that a G natural to G♯ trill can be made by an additional touchpiece for the right hand. Saxophones of this period also have this mechanism. Additionally, there is no connection from G♯ to low C♯ or low B natural, the sarrusophone is rarely called for in orchestral music. Igor Stravinsky included a part for contrabass sarrusophone in Threni, the composer Paul Dukas used the contrabass sarrusophone to great effect in 1897 in his The Sorcerers Apprentice, where the instrument begins the bassoons macabre dance motif. These parts are all normally played on the contrabassoon, though recordings of at least some of these pieces using sarrusophones are extant
Sarrusophone
–
Conn Sarrusophone (c. late 1850s)
Sarrusophone
–
Sarrusophones,
Museu de la Música de Barcelona
30.
P. D. Q. Bach
–
Bach is a fictitious composer invented by musical satirist Professor Peter Schickele. Schickele developed a career, performing the discovered works of the only forgotten son of the Bach family. Schickeles music combines parodies of musicological scholarship, the conventions of Baroque and classical music, and slapstick. The name P. D. Q. is a parody of the names given to some members of the Bach family that are commonly reduced to initials. PDQ is an initialism for pretty damned quick, Schickele began working on the character while studying at the Aspen Music Festival and School and at Juilliard, and has performed a variety of P. D. Q. The Village Voice mentions the juxtaposition of collage, bitonality, musical satire, Bach he has single-handedly mapped a musical universe that everyone knew was there and no one else had the guts to explore. As of 2012 he has decreased touring due to age and he performed two concerts to commemorate the 50th anniversary of his first concert at The Town Hall in New York on December 28 and 29,2015, and continues to have live concert performances. Schickele gives a fictional biography of the composer according to which P. D. Q. Bach was born in Leipzig on April 1,1742, the son of Johann Sebastian Bach and Anna Magdalena Bach and he died May 5,1807, though his birth and death years are often listed on album literature in reverse, as. According to Schickele, P. D. Q. possessed the originality of Johann Christian, the arrogance of Carl Philipp Emanuel, schickeles works attributed to P. D. Q. Bach often incorporate comical rearrangements of well-known works of other composers, there is often a startling juxtaposition of styles within a single P. D. Q. The Prelude to Einstein on the Fritz, which alludes to Philip Glass opera Einstein on the Beach, Bachs first prelude from The Well-Tempered Clavier, but at double the normal speed, with each phrase repeated interminably in a minimalist manner that parodies Glasss. On top of this structure is added everything from jazz phrases to snoring to heavily-harmonized versions of Three Blind Mice to the chanting of a meaningless phrase. Through all these mutilations, the piece never deviates from Bachs original harmonic structure, Bachs fictional musical output into three periods, the Initial Plunge, the Soused Period, and Contrition. During the Initial Plunge, P. D. Q, Bach wrote the Traumerei for solo piano, an Echo Sonata for two unfriendly groups of instruments, and a Gross Concerto for Divers Flutes, two Trumpets, and Strings. During the Soused Period, P. D. Q, during the Contrition Period, P. D. Q. A final work is the mock religious work Missa Hilarious, the tromboon is a musical instrument made up of the reed and bocal of a bassoon, attached to the body of a trombone in place of the trombones mouthpiece. It combines the sound of double reeds and the slide for a distinctive, the name of the instrument is a portmanteau of trombone and bassoon
P. D. Q. Bach
–
Tromboon
P. D. Q. Bach
–
Tromboon detail; the bassoon reed is on the left
31.
Aulos
–
An aulos or tibia was an ancient Greek wind instrument, depicted often in art and also attested by archaeology. An aulete was the musician who performed on an aulos, the ancient Roman equivalent was the tibicen, from the Latin tibia, pipe, aulos. There were several kinds of aulos, single or double, the most common variety was a reed instrument. Archeological finds, surviving iconography and other evidence indicate that it was double-reeded, like the modern oboe, a single pipe without a reed was called the monaulos. A single pipe held horizontally, as the flute, was the plagiaulos. A pipe with a bag to allow for sound, that is a bagpipe, was the askaulos. Like the Great Highland Bagpipe, the aulos has been used for martial music and it was the standard accompaniment of the passionate elegiac poetry. It also accompanied physical activities such as wrestling matches, the broad jump, plato associates it with the ecstatic cults of Dionysus and the Korybantes, banning it from his Republic but reintroducing it in Laws. It appears that some variants of the instrument were loud, shrill, sometimes a second strap was used over the top of the head to prevent the phorbeiá from slipping down. Aulos players are depicted with puffed cheeks. The playing technique almost certainly made use of breathing, very much like the Sardinian launeddas and Armenian duduk. Nevertheless, such musicians could achieve fame, the Romano-Greek writer Lucian discusses aulos playing in his dialogue Harmonides, in which Alexander the Greats aulete Timotheus discusses fame with his pupil Harmonides. Timotheus advises him to impress the experts within his profession rather than seek popular approval in big public venues, if leading musicians admire him, popular approval will follow. However, Lucian reports that Harmonides died from excessive blowing during practicing, in myth, Marsyas the satyr was supposed to have invented the aulos, or else picked it up after Athena had thrown it away because it caused her cheeks to puff out and ruined her beauty. But Apollo and his lyre beat Marsyas and his aulos, and since the pure lord of Delphis mind worked in different ways from Marsyass, he celebrated his victory by stringing his opponent up from a tree and flaying him alive. King Midas was cursed with donkeys ears for judging Apollo as the lesser player, Marsyass blood and the tears of the Muses formed the river Marsyas in Asia Minor. This tale was a warning against committing the sin of hubris, or overweening pride, some of this is a result of 19th century AD classical interpretation, i. e. Apollo versus Dionysus, or Reason opposed to Madness. In the temple to Apollo at Delphi, there was also a shrine to Dionysus, and his Maenads are shown on drinking cups playing the aulos, so a modern interpretation can be a little more complicated than just simple duality
Aulos
–
Aulos
Aulos
–
Drawing of a plagiaulos.
Aulos
–
The competition between Marsyas and Apollo on a Roman
sarcophagus (290–300)
Aulos
–
Theatrical scene from a
Pompeiian mosaic showing a masked performer with an aulos and two goatskin-wearing actors
32.
Bassanello
–
The bore of bassanelli is straight and opens at the bottom, and these instruments only have one key. They are blown by direct contact with the reeds, exactly as are curtals, pommers, and bassets, and are nearly the same as these instruments in timbre, with good reeds, bassanelli can be made to play rather high. Like shawms, they have seven fingerholes, with a key on the lowest, in the rear, however, there is no hole to be found. They are pitched a fourth lower than chamber pitch, for their lowest size is the bass in F, though Praetorius attributes the invention of bassanelli to Johann Bassanello, it is more likely Giovannis father Santo who invented them. As there are no surviving examples of bassanelli, there has been some disagreement concerning its construction, a comparison of the lengths for the various sizes shown in the scale drawings by Praetorius to the pitches he gave for them, indicates the acoustical properties of a conical bore
Bassanello
–
Bassanelli
33.
Cornamuse
–
The cornamuse is a double reed instrument dating from the Renaissance period. It is similar to the crumhorn in having a windcap over the reed, Praetorius unfortunately did not include a woodcut of the cornamuse, but his depiction of the bassanello has a single bore and double reed. Since the paragraph by Praetorius is the only description of the cornamuse and no period specimen has been found. The name is not to be confused with cornemuse, which is the French word for bagpipes, musica Antiqua Cornamuse Page Building a Cornamuse in F
Cornamuse
–
Alto Cornamuse in F, made of pear wood (Reconstruction by Dominik Bauer, Saarbrücken)
Cornamuse
–
Description of the Cornamuse, a renaissance instrument, by Michael Praetorius
34.
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 piece of wood and this name is mentioned in the work Syntagma musicum by Michael Praetorius, who is the main source for information about this instrument. The kortholt is a reed instrument. Its construction is similar to that of the chanter of a bagpipe, a double reed is mounted inside a chamber. Blowing through a slot in the causes the reed to vibrate, because the reed is not touched by the lips. The pitch of the note can be varied by opening or closing finger, the kortholt is actually double bored, similar to the modern bassoon. The sound is a similar to the crumhorn, but is softer, although Praetorius only mentions one size, modern makers provide the standard soprano, alto, tenor and bass. They can be played together in a consort
Kortholt
–
Kortholt from Praetorius, Syntagma musicum, Wolfenbüttel 1619
35.
Oboe da caccia
–
The oboe da caccia is a double reed woodwind instrument in the oboe family, pitched a fifth below the oboe and used primarily in the Baroque period of European classical music. It has a tube and a brass bell, unusual for an oboe. Its range is close to that of the cor anglais—that is, the oboe da caccia is thus a transposing instrument in F. The notated range is identical to that of the baroque oboe. Johann Sebastian Bach tended to favor the middle and lowest registers, however, the instrument was likely invented by J. H. Eichentopf of Leipzig, Germany. The first dated reference to the da caccia is 1722. The first recorded use of the instrument is on 24 June 1723, but Bach was certainly the most prolific and most important composer for oboe da caccia, often using them in pairs. Bach wrote extensively for the da caccia in the years 1723–27. There are also significant parts for the da caccia in his Christmas Oratorio, the Passions. 1780–1820, roughly the Classical period, centering on Vienna, the soprano oboe underwent major changes first in bore and it is therefore understandable that the oboe da caccia, with its complex means of construction, was not selected for the same evolutionary treatment. The early English horn was no more suitable. Innovation was the watchword of the day, and antiquated instruments such as the da caccia stood little chance of surviving. A curious note, according to Cecil Forsyth in his famous book on orchestration, however, Forsyth wrote during a period when organology was in its infancy. The oboe da caccia has a wooden body terminating in a large wooden bell, or in the case of Eichentopfs instruments. There are typically two brass keys, E-flat and C, the E-flat key is normally doubled for the left hand. There are usually two twin fingerholes, G/A-flat and F/F#, similar to the baroque oboe. The construction differs from that of all other woodwinds. The bore and outward profiles are first created on the lathe, then a series of saw kerfs are made through the bore from the side, then the instrument is bent over steam and a slat glued onto the inside curve to fix it
Oboe da caccia
–
Oboe da caccia
36.
Rackett
–
The rackett or Sausage Bassoon is a Renaissance-era double reed wind instrument, introduced late in the sixteenth century and already superseded by bassoons at the end of the seventeenth century. There are four sizes of rackett, in a family ranging from discant, tenor-alto, relative to their pitch, racketts are quite small. This is achieved through its ingenious construction, the body consists of a wooden cylinder into which nine parallel bores are drilled. Additional holes are covered by the thumbs and second joint of the finger in order to extend the range a perfect fourth below the nominal scale. Thus the discant rackett is considered to be in C, the ranges for the rest of the family as given by Praetorius are, tenor alt, g to C, bass, c to FF, great bass, A to DD or G to CC. The range could be extended upward by several more notes since the renaissance rackett overblows at the twelfth like a clarinet. Praetorius writes in Syntagma Musicum II, if a rackett is well drilled and is played by a good musician, the three extant renaissance racketts are housed in two European collections, one is in the Musikinstrumenten Museum in Leipzig, and two are in the Kunsthistorisches Museum in Vienna. The baroque rackett combined the folded bore concept with a conical profile, in essence. It has ten parallel cylindrical bores whose diameters increase in succession to function as a conical bore. A number of tetines were added, which are tubular metal extensions covered by the joint of the index fingers as well as the pinkies. Condensation usually remains in the coil of the removable brass crook, despite its idiosyncrasies, the baroque rackett is a versatile instrument with a wide range of notes and dynamics. Extant specimens of the baroque rackett can be found in the Musikinstrumenten-Museum Berlin, the inventor of the rackett is unknown. The first historical mention can be found in German sources Wurttemberg inventories of 1576, early paintings of the Munich Court band and a carved cabinet by Christof Angermair depict a single rackett being played in a mixed consort of other instruments. Prior to the seventeenth century, the rackett had a cylindrical bore. The later baroque rackett had an expanding pseudo-conical bore and was blown through a coiled crook inserted into the top of the instrument, a separate bell joint is added to extend the sounding length. Praetorius noted, In sound renaissance racketts are quite soft, almost as if one were blowing through a comb and it is particularly pleasing and fine to hear on bass parts
Rackett
–
Reproduction of a baroque rackett, manufactured by
Moeck Musikinstrumente + Verlag
Rackett
–
Racketts, from
Michael Praetorius '
Syntagma Musicum Theatrum Instrumentorum seu Sciagraphia (1619)
37.
Rhaita
–
The rhaita or ghaita is a double reed instrument from North Africa. It is nearly identical in construction to the Arabic mizmar and the Turkish zurna, the distinctive name owes to a medieval Gothic-Iberian influence. In southern Iberia, various sorts of instruments, including the related shawm, are known as gaitas. The rhaita was featured in The Lord of the Rings soundtracks by Howard Shore, in 1981 while composing the soundtrack to Altered States Corigliano again called for oboists to mimic the rhaita sound during Three Hallucinations
Rhaita
38.
Zukra
–
The zukra is a Libyan bagpipe with a double-chanter terminating in two cow horns, it is similar in construction to the Tunisian mizwad. The instrument is played as a bagpipe in the south and west of Libya, the instrument is played at feasts, weddings, and funerals. Mizwad Gaida Rhaita Mizmar Image of a player in a band
Zukra
39.
Balaban (instrument)
–
Balaban, or balaman is cylindrical-bore, double-reed wind instrument about 35 centimetres long with eight finger holes and one thumb hole. This instrument is played in Iranian Azerbaijan and in the Republic of Azerbaijan, in Turkey it is called mey. The origins of this instrument come from Armenian Duduk, which looks similar to it. Balaban can be made of mulberry or other woods, such as walnut. The bore through the instrument is about 1.5 centimetres in diameter, the double reed is made out of a single tube of cane about six cm long and pressed flat at one end. The performer uses air stored in his cheeks to keep playing the balaban while he inhales air into his lungs and this “circular” breathing technique is commonly used with all the double-reed instruments in the Middle East. The balaban consists of a stem, a reed, a regulator, the stem of the balaban, or govda, is a 280–320 millimetres cylindrical tube made primarily of apricot wood. The process of carving a balaban stem is called balaban chakma, the upper end of the stem is given a round shape, whereas the lower end is sharpened. The bore is 10 millimetres in diameter, eight holes or tones constituting a sound tone are made on the obverse and another one is made on the bottom side, opposite of the interval between the first and the second holes of the sas pardasi. Sometimes an additional hole called nizam pardasi is made on the end of the bottom side to ensure good timbre. The holes made on the stem are classified as follows, The reed made of club-rush that grows in an area is inserted into the upper end. It flattens and takes the shape of a double reed and it is tied to a 60 millimetres long and 10 millimetres wide regulator made of a willow or grape branch cut lengthways. The reed is fixed by a collar-like regulator on one side. The cap made of willow, hazel, cornel or mulberry is put on the reed to prevent it from damage and it is tied to the regulator in order not to be lost. On solemn occasions such as weddings and holiday ceremonies, a balaban-player is accompanied by a percussionist, a traditional Azeri musical group consisting of two balaban-players and a percussionist is called balabanchilar dastasi. In the past, the balaban was a musical element in the performance of mugham. It was also used in 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
Balaban (instrument)
–
Azerbaijani folk instrument Balaban.
Balaban (instrument)
–
Balaban in
Azerbaijan State Museum of History
Balaban (instrument)
–
Ashuq plays balaban in
Baku
Balaban (instrument)
–
Azerbaijani musical instruments (including balaban) on the stamp of
USSR, 1990
40.
Duduk
–
The duduk is an ancient double-reed woodwind flute made of apricot wood. It is commonly played in pairs, while the first player plays the song, the plays a steady drone. The unflattened reed and cylindrical body produce a closer to the English horn than to more commonly known double-reeds. Unlike other double reed instruments like the oboe or shawm, the duduk has a large reed proportional to its size. UNESCO proclaimed the Armenian duduk and its music as a Masterpiece of the Intangible Heritage of Humanity in 2005, Duduk music has been used in a number of films, most notably in The Russia House and Gladiator. Variations of the duduk exist in Eastern Europe, the Middle East and Central Asia, the word duduk is derived from Turkish düdük which means whistle. The word dudka in Slavic languages is a diminutive of duda and is of native Proto-Slavic origin and this instrument is not to be confused with the northwestern Bulgarian folk instrument of the same name. The earliest instruments similar to the present form are made of bone or entirely of cane. Today, the duduk is exclusively made of wood with a double reed. The particular tuning depends heavily on the region in which it is played, in the twentieth century, the Armenian duduk began to be standardized diatonic in scale and single-octave in range. Accidentals, or chromatics are achieved using fingering techniques, the instruments body also has different lengths depending upon the range of the instrument and region. The reed, is made one or two pieces of cane in a duck-bill type assembly. Unlike other double-reed instruments, the reed is quite wide, helping to give the duduk both its unique, mournful sound, as well as its remarkable breath requirements, the duduk player is called dudukahar in Armenian. The performer uses air stored in his cheeks to keep playing the instrument while he inhales air into his lungs and this circular breathing technique is commonly used with all the double-reed instruments in the Middle East. Duduk is invariably played with the accompaniment of a second dum duduk, Armenian musicologists cite evidence of the duduks use as early as 1200 BC, though Western scholars suggest it is 1,500 years old. Variants of the duduk can be found in Armenia and the Caucasus, the history of the Armenian duduk music is dated to the reign of the Armenian king Tigran the Great, who reigned from 95–55 B. C. The most important quality of the duduk is its ability to express the language dialectic and mood of the Armenian language, which is often the most challenging quality to a duduk player. While duduk most commonly refers to the reed instrument described on this page
Duduk
–
Duduk - also known as ծիրանափող (tsiranapogh) in Armenian
Duduk
Duduk
–
It has been suggested that
Balaban (instrument) be
merged into this article. (
Discuss) Proposed since February 2015.
Duduk
–
A duduk mouthpiece
41.
Guan (instrument)
–
The guan is a Chinese double reed wind instrument. The northern Chinese version is called guanzi or bili and the Cantonese version is called houguan and it is classified as a bamboo instrument in the Ba Yin system. The earliest use of the word guan can be traced back to Zhou Dynasty records, the earliest double-reed instrument appears in the late Zhou Dynasty and is referred as hujia because it had been introduced from the northwestern region of China. During that time, the hujia was used as the primarily military instrument for signaling, the guan was developed after the hujia in the Tang Dynasty due to the flourishing music and art culture that were influenced by the silk road trade. Like the hujia, it was adopted from whom the Chinese generally call the Hu people. At the height of the Tang Dynasty, the guan, alongside many other instruments was introduced to neighboring countries, however, in subsequent dynasties, the guan fell out of use in court music but became very popular in folk ensembles. In the Beijing opera orchestra, the guan is used to military scenes along with the suona. The guan consist of a cylindrical tube made of hardwood in northern China. In the Guangdong region of southern China, it is made from bamboo and is called houguan and it was originally used by street vendors but became incorporated into the Cantonese opera orchestra beginning in the 1920s. By the 1950s it had become popular throughout Guangdong and larger sizes were developed and this Taiwanese guan is often used in the Taiwanese opera orchestra. Like the Cantonese houguan, it comes in three sizes, each of which has a brass bell to increase its volume, photo and does not overblow. Traditionally, the guan has seven holes on the top. The length of a traditional guan varies from 7 inches to 13 inches, the Cantonese houguan is available in three sizes, the medium and large sizes have a small brass bell at the end. photo The northern guanzi comes in various keys. Other than the Houguan, other common bamboo guan include the Yamudi of Taiwan, the Luguan of Hunan, the Bili of northern China, the Uyghur Pipi, and the Xibili of the Korean autonomous region. The only other Guanzi hardwood versions also exist in northwest China that share a similarity to the Armenian Duduk, in the 20th century, modern versions of the guan were developed in China. These modernized guan, which may be as long as a Western clarinet, have extra holes and are fitted with keys to provide a wider. Such instruments are used primarily in large traditional orchestras, the keyed guanzi are normally used for tenor and baritone ranges respectively. They range of instruments are as large as a clarinet
Guan (instrument)
–
Northern Chinese hardwood guanzi
Guan (instrument)
–
Detail of 12th century
Song Dynasty painting depicting three guan (double-reed pipe) players and two
dizi (transverse flute) players, accompanied by a
paiban (wooden clapper), performing in the home of Han Xizai, a minister to the Song Dynasty emperor
Li Houzhu
Guan (instrument)
–
A small Cantonese houguan in the key of C
42.
Gyaling
–
The gyaling Gyaling literally meaning Indian trumpet is a traditional woodwind instrument used in Tibet. Specifically, it is a double reed horn much like the sorna used mainly in Tibetan monasteries during puja and is associated with peaceful deities, the gyaling is oboe-like in appearance with a long hardwood body and copper brass bell. The instrument is covered with ornate embellishments of colored glass. The double reed, which is made from a stem of marsh grass, is placed upon a small metal channel that protrudes out of the top. There are eight fingerholes on a standard gyaling, to play a gyaling requires a technique called circular breathing, in which the instrument will constantly be emitting a linear sound, even while the musician inhales. The reed is fully submerged in the mouth but does not touch it. A gyaling player tunes the instrument with the breath, the way of playing a gyaling varies depending on the lineage and ritual. A typical Tibetan Buddhist ritual orchestra consists of a gyaling, dungchen, kangling, dungkar, drillbu, silnyen, together, the music creates a state of mind to invite or summon deities. Often, the style of performance is similar to that of a bagpipe, with many short, clip of traditional Tibetan music Informational gyaling video on circular breathing Music of Asia Tibetan Buddhism Suona Shawm
Gyaling
–
Monks playing gyalings at
Spituk monastery, near Leh, Ladakh, India
43.
Hichiriki
–
The hichiriki is a double reed Japanese fue used as one of two main melodic instruments in Japanese gagaku music, the other being the ryūteki. The hichiriki is difficult to play, due in part to its double reed configuration, although a double reed instrument like the oboe, the hichiriki has a cylindrical bore and thus its sound is similar to that of a clarinet. Pitch and ornamentation are controlled largely with the embouchure, the hichiriki is one of the sacred instruments and is often heard being played at Shinto weddings in Japan. Its sound is described as haunting. The hichiriki is the most widely used of all instruments in gagaku, the hichiriki is derived from the Chinese guan or bili, and is also related to the Korean piri. Notable Japanese musicians who play the hichiriki include Hideki Togi and Hitomi Nakamura, notable non-Japanese musicians who have learned to play the hichiriki include Alan Hovhaness, Richard Teitelbaum, Thomas Piercy and Joseph Celli
Hichiriki
–
Hichiriki
44.
Kuzhal
–
The kuzhal is a traditional double reed wind instrument used in the south Indian state of Kerala. It is similar in construction to a nagaswaram or a large shehnai, Kuzhal is primarily used as an accompaniment for chenda-led ensembles Panchari Melam and Pandi Melam, where the piper plays the anchor role. However, as prelude to melams, it is used to present solo concert. The instrument has a body with a conical bore, at the end of which is affixed a brass bell. The player, who is almost always male, blows through a double reed, D. K. Printworld Ltd Nadaswaram Shehnai Music of Kerala Kuzhal video
Kuzhal
–
Kuzhal aerophones and
chenda drums
45.
Mizmar (instrument)
–
In Arabic music, a mizmār is any single or double reed wind instrument. In Egypt, the term usually refers to the conical shawm that is called zurna in Turkey. Mizmars are usually played in Egypt at either weddings or as an accompaniment to belly dancers, in Algeria a similar instrument is called ghaita or rhaita. Along with belly dancing, the mizmar may accompany the dabke, a line dance done in Lebanon, Syria, Palestine. Dominik Photo Images of the making
Mizmar (instrument)
46.
Nadaswaram
–
The nadaswaram, nagaswaram, nadhaswaram or nathaswaram, is a double reed wind instrument. It is a classical instrument originated in Tamil Nadu and also used in Andhra Pradesh, Karnataka. This instrument is among the worlds loudest non-brass acoustic instruments and 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 part of the family of instruments known as mangala vadya. The instrument is played in pairs, and accompanied by a pair of drums called thavil. Nadaswaram is referred in many ancient Tamil texts, silappatikaram refers to an instrument called vangiyam. The structure of this instrument matches that of Nadaswaram, since there are seven holes played with seven fingers this was also called as Ezhil. This instrument, too, is played in Tamil Nadu. The nadaswaram contains three parts namely, kuzhal, thimiru, and anasu and it is a double reed instrument with a conical bore which gradually enlarges toward the lower end. The top portion has a metal staple into which is inserted a small cylinder which carries the mouthpiece made of reed. Besides spare reeds, an ivory or horn needle is attached to the instrument. A metallic bell forms the end of the instrument. Traditionally the body of the nadaswaram is made out of a tree called aacha, although nowadays bamboo, sandalwood, copper, brass, ebony, for wooden instruments, old wood is considered the best, and sometimes wood salvaged from demolished old houses is used. The nadaswaram has seven finger-holes, and five additional holes drilled at the bottom which can be stopped with wax to modify the tone, the nadaswaram has a range of two and a half octaves, similar to the Indian bansuri flute, which also has a similar fingering. Due to its volume and strength it is largely an outdoor instrument. Rameshkumar, Brother teams of Keeranur and Thiruveezhimizhalai, Semponnarkoil Brothers S R G S Vasanthakumar, Semponnarkoil Brothers S R G Sambandam and Rajanna. The German saxophonist Roland Schaeffer also plays it, having studied from 1981 to 1985 with Karupaia Pillai, tavil Images from The Beede Gallery Shawms, Southern India, ca. National Music Museum, University of South Dakota
Nadaswaram
–
A typical ensemble of two nadaswaram and two
thavil.
Nadaswaram
–
Nadaswaram
Nadaswaram
–
Percussion
47.
Pi (instrument)
–
Pi is the generic term for any of a variety of quadruple reed oboes used in the traditional music of Thailand. It is very similar in construction and playing technique to the Cambodian sralai, Pi chawa Pi klang Pi mon Pi nai Pi nok Pi chanai An entirely different instrument, a bamboo free reed pipe called pi chum, is used by the Lanna of Northern Thailand. The pi nok is smallest among pi nok, klang, Pi noks have been played since the ancient times. The pi nai is commonly seen in Thai literature such as Phra Aphai Mani, the pi chanai is pi song thon. Body part is called lao pi, both parts are made from wood or ivory. It is presumed that the Thais obtained this musical influence from India due to its similarity to the Indian shehnai, Pi have been used in Thai since the Sukhothai period. At present, it is played together with the pi chawa in parades, the pi chawa is pi song thon like the pi chanai, but longer. It is made from wood or ivory, presume Thai take in pi chawa as same time as glong khaek. From some evidence, they used pi chawa in Krabuan Phayuhayattra in the pre-Ayutthaya period, the pi mon is pi song thon like pi chawa but greater. Lao pi is made from wood, the pi mon is played usually in the piphat mon ensemble or in the old called pi phat raman ensemble
Pi (instrument)
–
String
48.
Shehnai
–
The shehnai, shenoy, sanai, shahnai, shenai, shanai or mangal vadya is a musical instrument similar to the oboe, common in India, Pakistan, and Bangladesh. It is made out of wood, with a double reed at one end, the shehnai is similar to South Indias nadaswaram. This tubular instrument gradually broadens towards the lower end and it usually has between six and nine holes. It employs one set of reeds, making it a quadruple reed woodwind. By controlling the breath, various tunes can be played on it, the shehnai has a range of two octaves, from the A below middle C to the A one line above the treble clef. The shehnai is thought to have developed by improving upon the pungi. Another theory of the origin of the shehnai is that the name is a modification of the word sur-nal, the word nal/nali/nad is used in many Indian languages to mean pipe or reed. The word sur means tone or tune—musical note or simply music—and is used as a prefix to the names of many Indian instruments. The sur-nal is said to have given its name to the surna/zurna which is the name by which the reed-pipe is known throughout the Middle East, shehnai is usually played at traditional North Indian weddings and is associated with the bride leaving her parental house for her husbands 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, Music contexts, a concise dictionary of Hindustani Music
Shehnai
–
Shehnai
Shehnai
–
Percussion
Mahillon, Victor-Charles; Schlesinger, Kathleen (1911). "Cromorne". Encyclopædia Britannica (11th ed.).
