Editing Shawm (section)

{{short description|Double-reed woodwind instrument}}
{{Infobox instrument
|name=Shawm
|names=
|image=Salmaj.jpg
|classification=[[Double reed]]
|range=
|related=
*[[Sorna]]
*[[Rhaita]]
*[[Aulos]]
*[[Suona]]
*[[Sopila]]
*[[Zurna]] }}
[[File:Herderstafereel met een schalmeispeler Rijksmuseum SK-A-1494.jpeg|thumb|Shepherd playing the shawm (1646), by [[Jan Baptist Wolfaerts|Jan Baptist Wolffort]] (Dutch [[Rijksmuseum]])]]

The '''shawm''' ({{IPAc-en|ʃ|ɔː|m}}) is a [[Bore (wind instruments)#Conical bore|conical bore]], [[double-reed]] [[woodwind instrument]] made in [[Europe]] from the 12th century to the present day. It achieved its peak of popularity during the medieval and [[Renaissance]] periods, after which it was gradually eclipsed by the [[oboe]] family of descendant instruments in [[classical music]]. It is likely to have come to [[Western Europe]] from the [[Eastern Mediterranean]] around the time of the [[Crusades]].<ref name="auto">[http://www.diabolus.org/guide/shawm.htm The Shawm and Curtal]—from the Diabolus in Musica Guide to Early Instruments</ref> Double-reed instruments similar to the shawm were long present in Southern Europe and the East, for instance the [[Ancient Greek music|ancient Greek]], and later [[Byzantine Empire#Music|Byzantine]] [[aulos]],<ref name="West">{{cite book |last=West |first=Martin L. |title=Ancient Greek Music |url=https://books.google.com/books?id=So-Qpz6WDS4C&pg=PA84 |quote="The single reed or clarinet mouthpiece was known to other ancient peoples, and I should not venture to assert that it was not known to the Greeks. But the evidence of both art and literature indicates that it was the double reed that was standard in the Classical period. Under the Hornbostel-Sachs system, therefore, the [[aulos]] should be classified as an oboe. It must be admitted that 'oboe-girl' is less evocative than the 'flute-girl' to which classicists have been accustomed, and that when it is a question of translating Greek poetry 'oboe' is likely to sound odd. For the latter case I favor 'pipe' or 'shawm.'" |publisher=[[Clarendon Press]] |date=January 1992 |page=84 |isbn=0-19-814975-1}}</ref><ref name="Rautman">{{cite book |last=Rautman |first=Marcus |title=Daily Life in the Byzantine Empire |url=https://books.google.com/books?id=hs3iEyVRHKsC&pg=PA276 |publisher=Greenwood Publishing Group |date=2006 |page=276 |isbn=9780313324376}}</ref> the closely related [[sorna]] and [[zurna]],<ref name="auto1">Anthony C. Baines and Martin Kirnbauer, "Shawm [scalmuse, shalm, shalmie, schalmuse]", ''The New Grove Dictionary of Music and Musicians'', second edition, edited by [[Stanley Sadie]] and [[John Tyrrell (professor of music)|John Tyrrell]] (London: Macmillan Publishers, 2001).</ref> and the Armenian [[duduk]].

The body of the shawm is usually turned from a single piece of wood, and terminates in a flared bell somewhat like that of a [[trumpet]]. Beginning in the 16th century, shawms were made in several sizes, from [[Recorder (musical instrument)|sopranino]] to [[great bass]], and four- and five-part music could be played by a consort consisting entirely of shawms. All later shawms (excepting the smallest) have at least one key allowing a downward extension of the compass; the keywork is typically covered by a perforated wooden cover called the ''fontanelle''.{{citation needed|date=July 2015}}<!--Even 19th and 20th-century shawms have fontanelles? This needs a source.--> The [[bassoon]]-like double reed, made from the same ''[[arundo donax]]'' cane used for oboes and bassoons, is inserted directly into a socket at the top of the instrument, or in the larger types, on the end of a metal tube called the [[bocal]]. The ''[[Pirouette (mouthpiece)|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]].<ref>Jeremy Montagu, "Shawm [shalme, hautboy, hoboy, wait-pipe]", ''The Oxford Companion to Music'', edited by [[Alison Latham]] (Oxford: Oxford University Press, 2002).</ref>

Since only a short portion of the reed protrudes past the pirouette, the player has only limited contact with the reed, and therefore limited control of dynamics. The shawm's [[conical bore]] and flaring bell, combined with the style of playing dictated by the use of a pirouette, gives the instrument a piercing, trumpet-like sound, well-suited for outdoor performances.