Editing Shawm (section)

==Progeny of the shawm==
A tenor shawm in C with a single key [without the customary lower extension to G], with a range of a perfect twelfth, was described as a ''nicolo'' according to [[Michael Praetorius]] in his ''[[Syntagma Musicum]]'' II (1619), pages 23 and 36, but was not illustrated. Praetorius does, however, illustrate in Plate 13 in the supplementary volume of illustrations, the {{lang|la|Theatrum instrumentorum}} (1620), along with crumhorns, a ''bassett:nicolo'' which has the outward appearance of a capped shawm with four keys, but in fact conceals a mostly cylindrical bore. (The range of the bassett: nicolo descended to the A below great C and was just over four feet in length; a shawm of this range, i.e., with a conical bore, would require more than 9 feet of bore length.){{citation needed|date=June 2016}}

===Oboe===
The shawm inspired the later 17th-century [[Baroque oboe|''hautbois'']], an invention of the [[France|French]] musician [[Martin Hotteterre]] (d. 1712). He is credited with devising essentially a brand-new instrument, one which borrowed several features from the shawm, chiefly its double reed and conical bore, but departed from it significantly in other respects, the most important departure being the fact the player places his lips directly on the reed with no intervening pirouette. Around 1670, the new French {{lang|fr|hautbois}} began replacing the shawm in military bands, concert music and opera; by 1700, the shawm had all but disappeared from concert life, although as late as 1830 shawms could still be heard in German town bands performing their municipal functions.{{sfn|Baines|1991}} Curiously, the Germans and [[Dutch people|Dutch]] continued to manufacture an ornate version of the shawm, called {{lang|de|deutsche Schalmey}}, well after the introduction of the French {{lang|fr|hautbois}}. Several examples of this instrument survive in European collections, although its exact musical use is unclear.{{citation needed|date=June 2016}}

===Dulcian/bassoon===
The 16th-century proclivity for building instruments in a full range of sizes was naturally extended to the shawm, but the extreme length of pipe of the bass instruments meant that few were built and played, due to their cumbersome size.{{citation needed|date=June 2019}} A solution was devised whereby the bore was in effect "folded back" upon itself, creating a much more manageable instrument. The new instrument is often referred to as the [[dulcian]], and was called ''curtal'' in England,<ref>{{Cite book |last=Jeffery |first=Kite-Powell |author-link=Jeffery T. Kite-Powell |url=https://www.worldcat.org/title/707212741 |title=A performer's guide to seventeenth-century music |date=2012 |publisher=Indiana University Press |isbn=978-0-253-35706-9 |editor-last=Carter |editor-first=Stewart |series=Publications of the Early Music Institute |location=Bloomington |oclc=707212741 |editor-last2=Kite-Powell |editor-first2=Jeffery T.}}</ref> {{lang|de|fagott}} or {{lang|it|fagotto}} in Germany and Italy, and {{lang|es|bajón}} in Spain.{{citation needed|date=June 2019}} The dulcian, like the first oboes, employed direct lip-to-reed contact, which allowed for much greater control over the sound than was offered by shawms. This led to the dulcian becoming very popular, serving as a bass both to the other shawms and even to indoor ensembles that did not feature shawms, afforded by its ability to play quietly. The dulcian was the forerunner to the [[bassoon]], which like the oboe was a Baroque invention.{{citation needed|date=June 2019}}

===Charumera===
The {{nihongo|''charumera''|チャルメラ|}}, or {{nihongo|''charumeru''|チャルメル|}}, is a double-reed instrument in traditional [[Japanese music]] descended either from shawms brought to Japan by Portuguese [[Christian missionaries]],<ref>{{cite book |last1=Burgess |first1=Geoffrey |last2=Haynes |first2=Bruce |title=The Oboe |url=https://books.google.com/books?id=wQfnx89NXDUC&q=Charumera&pg=RA1-PA23 |publisher=[[Yale University Press]] |location=New Haven, CT |year=2004 |isbn=0-300-09317-9}}</ref> or possibly Iberian traders in the 16th century.<ref>Sibyl Marcuse, ''Musical Instruments: A yo Dictionary'', corrected edition (The Norton Library N758) (New York: W. W. Norton, 1975): 90</ref> It is sometimes used in [[kabuki]] theatre performances. It is also strongly associated in popular culture with street vendors of [[ramen]], who played a distinctive melody on it to attract customers.