See also:

• OBOE, or HAUTBOY (Fr. hautbois, Ger. Hoboe, Ital. oboe)

OBOE, or HAUTBOY (Fr. hautbois, Ger. Hoboe, Ital. oboe)  , the See also:

• TREBLE (a doublet of " triple," three-fold, from Lat. triplus, triple; cf. " double " from duplus)

treble member of the class of See also:

• WOOD, ANTHONY A2 (1632-1695)
• WOOD, JOHN GEORGE (1827—1889)
• WOOD, MRS HENRY [ELLEN] (1814—1887)
• WOOD, SEARLES VALENTINE (1798—188o)

wood-See also:

• WIND
• WIND (a common Teut. word, cognate with Skt. vats, Lat. ventus, cf. " weather," to be of course distinguished from to " wind," to coil or twist, O.Eng. windan, cf. "wander," "wend," &c.)

wind See also:

• INSTRUMENTS

instruments, having a conical See also:

• BORE

bore and a See also:

• DOUBLE
• DOUBLE (from the Mid. Eng. duble, the form which gives the present pronunciation, through the Old Er. duble, from Lat. duplus, twice as much)

double See also:

• REED
• REED, ANDREW (1787-1862)
• REED, ISAAC (1742—1807)
• REED, JOSEPH (1741—1785)
• REED, THOMAS BRACKETT (1839—1902)

reed See also:

• MOUTHPIECE (Fr. embouchure; Ger. Mundstuck; Ital. bocchino)

mouthpiece . The See also:

• OBOE, or HAUTBOY (Fr. hautbois, Ger. Hoboe, Ital. oboe)

oboe consists of a conical wooden See also:

• TUBE (Lat. tuba)

tube, composed of three See also:

• JOINTS

joints, upper, See also:

• MIDDLE

middle and See also:

• BELL
• BELL, ALEXANDER MELVILLE (1819—1905)
• BELL, ANDREW (1753—1832)
• BELL, GEORGE JOSEPH (1770-1843)
• BELL, HENRY (1767-1830)
• BELL, HENRY GLASSFORD (1803-1874)
• BELL, JACOB (1810-1859)
• BELL, JOHN (1691-178o)
• BELL, JOHN (1763-1820)
• BELL, JOHN (1797-1869)
• BELL, ROBERT (1800-1867)
• BELL, SIR CHARLES (1774—1842)

bell, and of a See also:

• SHORT, FRANCIS JOB (1857– )

short See also:

• METAL
• METAL (through Fr. from Lat. metallum, mine, quarry, adapted from Gr. µATaXAov, in the same sense, probably connected with ,ueraAAdv, to search after, explore, µeTa, after, aAAos, other)

metal tube to which are See also:

• BOUND, or BOUNDARY (from O. Fr. bonde, Med. Lat. bodena or butina, a frontier line)

bound by many turns of waxed See also:

• SILK

silk the two thin pieces of See also:

• CANE

cane that See also:

• FORM (Lat. forma)

form the mouthpiece . These pieces of cane are so bevelled and thinned at the end which is taken into the mouth that the gentlest stream of compressed See also:

• AIR (from an Indo-European root meaning " breathe," " blow ")
• AIR, or ASBEN

air suffices to set them vibrating . Practice has demonstrated that the reed stalk of which the double reed mouthpiece is made, should not be of narrower See also:

• INTERNAL

internal See also:

• DIAMETER (from the Cr. &a, through, µErpov, measure)

diameter than the See also:

• PIPE

pipe containing the See also:

• COLUMN (Lat. columna)

column of air upon which it is destined to See also:

• ACT (Lat. actus, actum)

act . The player breathes gently into the See also:

• APERTURE (from Lat. aperire, to open)

aperture, which has the form of a very narrow See also:

• ELLIPSE (adapted from Gr. EXkei 'tc, a deficiency, iXXeirely, to fall behind)

ellipse, managing his breath as for singing . The vibrations of the double reed produce in the stream of compressed air issuing from the player's lips the rhythmical See also:

• SERIES (a Latin word from serere, to join)

series of pulses necessary to generate See also:

• SOUND
• SOUND, THE (Danish Oresund)

sound waves in the stationary column of air within the See also:

• MAIN (from the Aryan root which appears in " may " and " might," and Lat. magnus, great)
• MAIN (Lat. Moenus)

main tube of the See also:

• INSTRUMENT (Lat. instrumentum, from insincere, to build up, furnish, arrange, prepare)

instrument . In the upper and middle joints are the rings and, keys covering lateral holes bored through the tube, by means of which the column of air, and consequently the See also:

• WAVE

wave length, may be shortened at will; the bell See also:

• JOINT (through Fr. from Lat. junctum, jungere, to join)

joint contains one or two keys normally open, which when closed extend the lowest See also:

• REGISTER

register by lengthening the air column . These holes and keys produce the fundamental See also:

• SCALE
• SCALE (1) A

scale of the oboe, which possesses notes sufficient for an octavewith all See also:

• CHROMATIC (Gr. xpcoµaruc6s, coloured, from xpwµa, colour)

chromatic intervals . The next octaves are obtained by means of See also:

• CROSS

cross fingering (Fr. doigte fourchu, Ger . Gabelgrif'), and of the See also:

• OCTAVE (from Lat. octavus, eighth, octo, eight)

octave keys, which do not give out an See also:

• INDEPENDENT

independent See also:

• NOTE
• NOTE (Lat. nota, mark, sign, from noscere, to know)

note of their own, but determine a See also:

• NODE (Lat. nodus, a loop)

node in the column of air, whereby the latter divides and vibrates in two See also:

• HALF

half sections producing the second See also:

• HARMONIC

harmonic overtone or octave . In See also:

• ORDER
• ORDER (through Fr. ordre, for earlier ordene, from Lat. ordo, ordinis, rank, service, arrangement; the ultimate source is generally taken to be the root seen in Lat. oriri, rise, arise, begin; cf. " origin ")
• ORDER, HOLY

order to obtain this result the player increases the pressure of his breath and also the tension of his lips against the reed . or= The See also:

• COMPASS (Fr. corn pas, ultimately from Lat. cum, with, and passus, step)

compass of the oboe is from -co-U -- with all chromatic semitones .

The G clef is used in notation and all notes are sounded as written . The quality of See also:

• TONE, THEOBALD WOLFE (1763-1798)

tone or timbre depends primarily on the See also:

• CON

con-figuration of the sound waves (see See also:

• HORN
• HORN (a common Teutonic word, cognate with Lat. cornu; cf. Gr. Kipas)
• HORN (Lat. cornu; corresponding terms being Fr. cor, trompe; Ger. Horn; Ital. corno)
• HORN, ARVID BERNHARD, COUNT (1664-1742)
• HORN, PHILIP DE MONTMORENCY, COUNT

HORN), which is influenced by the See also:

• SPECIAL

special characteristics of the mouth-piece: the musical tone of an instrument may be said to be due more directly to the prevalence and relative strength of the many harmonics which go to make up a composite tone or clang . The quality of the oboe tone resembles that of the E See also:

• STRING

string of the See also:

• VIOLIN

violin, but is more nasal, more penetrating and shriller . The See also:

• LOWER

lower register is thin and somewhat sweeter, approximating to the upper register of the See also:

• COR

cor anglais . But the timbre does not vary appreciably in the different registers, and to this want of variety in tone See also:

• COLOUR (Lat. color, connected with celare, to hide, the root meaning, therefore, being that of a covering)

colour is due the unpopularity of the oboe as a See also:

• SOLO, OR SOLO WHIST

solo instrument, although it is invaluable as a See also:

• MELODY (Gr. ,ueXw3ia, a choral song, from name, tune, and gi6i, song)

melody-leading instrument in the See also:

• ORCHESTRA (Fr. Orchestre; Ger. Kapelle, Orchester; Ital. Orchestra)

orchestra, balanced by clarinets and flutes . The oboe lends itself admirably to See also:

• PASTORAL (from Lat. pastor, a shepherd)

pastoral See also:

• MUSIC

music . The technical capabilities of the instrument are very varied . It is possible to See also:

• PLAY

play on it diatonic and chromatic scale and See also:

• ARPEGGIO (from Ital. arpeggiare, to play upon the harp)

arpeggio passages, legato and staccato; leaps; cantabile passages; sustained notes, crescendo and diminuendo, See also:

• GRACE (Fr. grace, Lat. gratia, from grates, beloved, pleasing; formed from the root cra-, Gr. xav-, cf. xaipw, x6p,ua, Xapts)
• GRACE, WILLIAM GILBERT (1848– )

grace notes and shakes (with reservations) . The keys having many sharps and flats are the most difficult for the oboist . The double reed is the most See also:

• SIMPLE

simple, as it is probably the See also:

• OLDEST

oldest, of all reed contrivances . It is sufficient to flatten the end of a See also:

• WHEAT
• WHEAT (Triticum)

wheat See also:

• STRAW

straw to constitute an apparatus capable of setting in vibration by the breath the column of air contained in the rudimentary tube; the invention of this reed is certainly due to See also:

• CHANCE (through the O. Fr. cheance, from the Late Lat. cadentia, things happening, from cadere, to fall out, happen; cf. " case ")

chance . An apparatus for sonorous disturbance thus found, it was easy to improve it : for the wheat stalk a reed stalk was substituted, and in the extremity of its pipe another reed stalk much shorter in length was inserted, pared and flattened at the end ; and then came the lateral holes, probably another See also:

• DISCOVERY

discovery of the See also:

• GREAT

great inventor chance .

For the reed tube a wooden one was substituted, still preserving the reed See also:

• TONGUE (O. Eng. lunge)

tongue, and it is in this form, after having played an important See also:

• PART

part amongst the sonorous contrivances of antiquity, that we find the ancestor of the•oboe playing a part no less important in the 16th See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century, in which it. formed the interesting families of the cromornes, the corthols and the cervelas . All these families have disappeared from the instrumental combinations of See also:

• EUROPE

Europe, but they are still to be found in Eastern wind instruments, such as the Caucasian salamouri, the See also:

• CHINESE, JAPANESE AND

Chinese kwantze, and the hitshiriki of See also:

• JAPAN

Japan . It is impossible to say when it was that See also:

• MAN
• MAN, ISLE OF (anc. Mona)

man first employed the phenomena of double reeds and conical pipes, but the knowledge of them must at least have been later than that of the cylindrical pipe, which we may regard as directly furnished by nature . That antiquity made use of them, however, has been proved by Gevaert in his admirable Histoire de la musique clans l'antiquite; but this learned author states that the double-reed pipes held but an in-significant See also:

• PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place in the instrumental music of See also:

• ANCIENT
• ANCIENT (also spelt ANTIENT; derived, through the Fr. ancien, old, from the late Lat. antianum, from ante, before)

ancient See also:

• GREECE

Greece and See also:

• ROME
• ROME (Roma)

Rome, a statement which is open to See also:

• CHALLENGE (O. Fr. chalonge, calenge, &c., from Lat. calumnia, originally meaning trickery, from calvi, to deceive, hence a false accusation, a " calumny ")

challenge (see Aunos) . Rudall, See also:

• CARTE, THOMAS (1686-1754)

Carte & Co . FIG.I.—The Oboe . The first See also:

• APPEARANCE (from Lat. apparere, to appear)

appearance of the instrument we See also:

• CALL (from Anglo-Saxon ceallian, a common Teutonic word, cf. Dutch kallen, to talk or chatter)

call oboe in a musical See also:

• WORK

work occurs in See also:

• SEBASTIAN
• SEBASTIAN, ST

Sebastian Virdung's Musica getutschl and aussgezogen (1511) . It there bears the name of Schalmey, and is already associated with an instrument of similar construction called Bom- bardt . There exists, however, much earlier See also:

• EVIDENCE (Lat. evidentia, evideri, to appear clearly)

evidence, in the illuminated See also:

• MSS

MSS. and in the romances of the middle ages, of the great popularity of the instrument in all parts of Europe . The origin of wind instruments with conical tubes must be sought in the See also:

• EAST
• EAST, ALFRED (1849- )

East, in See also:

• ASIA

Asia . An See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early See also:

• MEDIEVAL

medieval Schalmey with three holes may be seen on the See also:

• SILVER

silver See also:

• CUP (in O.E. cuppe; generally taken to be from Late Lat. cuppa, a variant of Lat. cupa, a cask, cf. Gr. KuaeXXov)

cup of the goddess Nana-Anat.' There are two or three Schalmeys in the See also:

• FINE

fine 13th-century See also:

• SPANISH

Spanish MS . Cantigas de See also:

• SANTA

Santa Maria executed for -See also:

• ALPHONSO

Alphonso the See also:

• WISE, HENRY ALEXANDER (1806-1876)
• WISE, ISAAC MAYER (1819-1900)

Wise, pre-served in the Library of the See also:

• ESCORIAL

Escorial 2 (J. b 2) .

The oboe was known during the early middle ages as Calamus, Chalumeau (See also:

• FRANCE
• FRANCE, ANATOLE (1844– )

France), Schalmei (See also:

• GERMANY
• GERMANY (Ger. Deutschland)

Germany), See also:

• SHAWM, SHALM (Fr. chalumeau, chalemelle, hautbois; Ger. Schalmei, Schalmey; Ital. Pifar cenamelle; Lat. calamus; tibia; Gr. a- Ws)

Shawm (See also:

• ENGLAND
• ENGLAND, THE CHURCH OF

England) . It is mentioned in the See also:

• ROMAN

Roman de See also:

• BRUT, BRUTE

Brut (12th century) (See also:

• LINE

line 10,822 seq.) " Lyres, tympres, et chalemiax." An interesting MS. at the See also:

• BRITISH

British Museum, See also:

• SLOANE, SIR HANS (1660-1753)

Sloane 3983, contains amcng other musical instruments on fol . 13 a large shawm with 6 See also:

• FINGER

finger-holes described at the See also:

• SIDE
• SIDE (mod. Eski Adalia)

side as Calamus aureus . A See also:

• MINIATURE

miniature in the See also:

• PARIS
• PARIS (also called ALEXANDROS)
• PARIS, ALEXIS PAULIN (1800-x881)
• PARIS, BRUNO PAULIN GASTON (1839-1903)
• PARIS, FRANCOIS DE (169o-1727)
• PARIS, LOUIS PHILIPPE ALBERT
• PARIS, TREATIES OF (1814-1815)

Paris Manesse MS.3 of the 14th century depicts Heinrich von See also:

• MEISSEN

Meissen, better known as See also:

• FRAUENLOB

Frauenlob, conducting, from a raised See also:

• PLATFORM (Fr. plateforme, i.e. ground plan)

platform, a See also:

• BAND

band of musicians, one of whom is holding a Schalmey with 6 or 7 holes . The chaunter of the bagpipe was a shawm, having the double reed concealed within an air-chamber, while the drones had single beating reeds concealed in the same manner . See also:

• MERSENNE, MARIN

Mersenne calls both chalumeaux.4 The cornemuse or chalemie of shepherds and peasants was of this See also:

• KIND (O. E. ge-cynde, from the same root as is seen in " kin," supra)

kind, but a special cornemuse, used in the 17th century in See also:

• CONCERT (through the French from Lat. con-, with, and certare, to strive)

concert with the hautbois de See also:

• POITOU

Poitou, had double reeds throughout in chaunter and See also:

• DRONE

drone . The hautbois de Poitou was a See also:

• PRIMITIVE

primitive oboe with the reed placed in a bulb, forming an air-chamber, having a raised slit at the See also:

• TOP (cf. Dan. top, Ger. Topf, also meaning pot)

top through which the performer breathed in compressed air; as the reed could not be controlled by the lips, it was impossible to play with expression on the hautbois de Poitou or to obtain the harmonic octaves; the compass was therefore limited . The kind of bagpipe (q.v.) known as Musette,' inflated by See also:

• BELLOWS
• BELLOWS, ALBERT F
• BELLOWS, HENRY WHITNEY (1814-1882)

bellows, also had double reeds throughout in spite of having a cylindrical chaunter . The manufacture of musical instruments could not remain unaffected by the great See also:

• ARTISTIC

artistic See also:

• MOVEMENT

movement known as the See also:

• RENAISSANCE, THE

Renaissance; accordingly, we find them not only improved and purified in form in the 16th century, but also ranged in See also:

• COMPLETE

complete families from the See also:

• SOPRANO (a variant of Ital. sovrano, supreme, sovereign, Late Lat. superanus, from super, above)

soprano to the See also:

• BASS
• BASS (the same word as " base," and so pronounced, but influenced in spelling by the Ital. basso)

bass . See also:

• PRAETORIUS, MICHAEL (1571_1621)

Praetorius, in his Syntagma Musicum (1615-162o), gives us the full nomenclature of the See also:

• FAMILY

family with which we are concerned, composed of the following individuals: (1) The little Schalmey, rarely employed, measured about 17 in. in length, and had six lateral holes . Its deepest note was 6_.e1 . (2) The discant Schalmey (fig .

2), the primitive type of the See also:

• MODERN

modern oboe; its length was about 26 in., and its deepest note (3) The See also:

• ALTO (Ital. for " high ")

alto See also:

• POMMER

Pommer (fig. of in. See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long, with its deepest The See also:

• TENOR (through Fr. and It. from Lat. tenor, holding on, course, sense of a law, tone)

tenor Pommer (fig . (4) 4), measuring about 4 ft . 4 in.; besides the six lateral holes of the preceding See also:

• NUMBERS, BOOK OF
• NUMBERS, PARTITION OF

numbers there were four keys which produced the notes (5) The bass Pommer, having a length of nearly 6 ft.; it had six lateral holes and four keys which produced Pommer, measuring about 9 ft . 8 in. in length; its four keys . These in- struments, and especially numbers (2), (3), (4) and (5), occupied an important place on the See also:

• CONTINENT (from Lat. continere, "to hold together "; hence " connected," " continuous ")

continent of Europe in the instrumental combinations of the 16th-19th centuries . Fig . 5, borrowed from a 1 See Gaz . Archeol . (Paris, 1886), xi, pp . 70 et seq . PI . X.; also 1885, pp .

288-296 . 2 A facsimile in See also:

• COLOURS, MILITARY

colours of part of the Cantigas containing figures of 52 instrumentalists has been published by the Real Academia Espanola (See also:

• MADRID

Madrid, J889), and can be seen at the British Museum . A See also:

• REPRODUCTION

reproduction in See also:

• BLACK
• BLACK, ADAM (1784-1874)
• BLACK, JEREMIAH SULLIVAN (1810–1883)
• BLACK, WILLIAM (1841-1898)

black and See also:

• WHITE
• WHITE, ANDREW DICKSON (1832– )
• WHITE, GILBERT (1720–1793)
• WHITE, HENRY KIRKE (1785-1806)
• WHITE, HUGH LAWSON (1773-1840)
• WHITE, JOSEPH BLANCO (1775-1841)
• WHITE, RICHARD GRANT (1822-1885)
• WHITE, ROBERT (1645-1704)
• WHITE, SIR GEORGE STUART (1835– )
• WHITE, SIR THOMAS (1492-1567)
• WHITE, SIR WILLIAM ARTHUR (1824--1891)
• WHITE, SIR WILLIAM HENRY (1845– )
• WHITE, THOMAS (1628-1698)
• WHITE, THOMAS (c. 1550-1624)

white is included in Juan F . Riano's See also:

• CRITICAL (in alphabetical order of authors)

Critical and See also:

• BIBLIOGRAPHICAL

Bibliographical Notes on Early Spanish Music (See also:

• QUARITCH, BERNARD (1819-1899)

Quaritch, 1887) . 3 The miniature is reproduced in See also:

• NAUMANN, GEORG AMADEUS CARL FRIEDRICH (1797-1873)

Naumann's See also:

• HISTORY

History of Music, i. p . 249, fig . 151 . 4 Harmonie universelle, ii. pp . 282-289 and 305 . ' See Mersenne—op. cit. ii. pp . 287-292 and Hotteterre le Romain . Methode pour la musette, le hautbois, &c .

(Paris, 1737), See also:

• CHAP

chap. xvi.picture e painted in 1616 by See also:

• VAN

Van Alsloot, represents six musicians playing the following instruments indicated in the order of their position in the picture from See also:

• LEFT

left to right: a bass oboe, See also:

• BENT
• BENT (E1. BENI)
• BENT, JAMES THEODORE (1852–1897)

bent over and become the See also:

• BASSOON
• BASSOON (Fr. basson; Ger. Fagott; Ital. fagotto)

bassoon, an alto Pommer, a See also:

• CORNET,

cornet (See also:

• GERMAN
• GERMAN, DUTCH AND SCANDINAVIAN

German " zinke "), a discant Schalmey, a second alto Pommer and a See also:

• TROMBONE (Fr. trombone, Ger. Posaune, Ital. trombono)

trombone .? The 17th century brought no great changes in the construction of the four smaller instruments of the family . See also:

• MICHEL
• MICHEL, CLAUDE
• MICHEL, FRANCISQUE XAVIER (1809-1887)

Michel de la See also:

• BARRE
• BARRE, ISAAC (1726-1802)

Barre See also:

• WRITING
• WRITING (the verbal noun of " to write," O. Eng. writan, to inscribe)

writing in 1740 states that in the archives of the Chambre See also:

• DES

des Comptes are 4 charges for hautbois and musettes de Poitou created by See also:

• KING
• KING (O. Eng. cyning, abbreviated into cyng, cing; cf. O. H. G. chun- kuning, chun- kunig, M.H.G. kiinic, kiinec, kiinc, Mod. Ger. Konig, O. Norse konungr, kongr, Swed. konung, kung)
• KING [OF OCKHAM], PETER KING, 1ST BARON (1669-1734)
• KING, CHARLES WILLIAM (1818-1888)
• KING, CLARENCE (1842–1901)
• KING, EDWARD (1612–1637)
• KING, EDWARD (1829–1910)
• KING, HENRY (1591-1669)
• KING, RUFUS (1755–1827)
• KING, THOMAS (1730–1805)
• KING, WILLIAM (1650-1729)
• KING, WILLIAM (1663–1712)

King See also:

• JOHN
• JOHN (1167–1216)
• JOHN (1290-c. 1320)
• JOHN (1296-1346)
• JOHN (1371–1419)
• JOHN (1468-1532)
• JOHN (1801-1873)
• JOHN (Heb. llni')
• JOHN (ZAPOLYA) (1487-1540)
• JOHN, 4TH MARQUESS OF TWEEDDALE (c. 1695-1762)
• JOHN, DON (1545-1578)
• JOHN, DON (1629–1679)
• JOHN, GOSPEL OF ST
• JOHN, or HAYS (1513–1571)
• JOHN, THE APOSTLE
• JOHN, THE EPISTLES OF

John 3 (14th century) . Extensively used in France, they were there called " haulx bois " or " haultbois," to distinguish themfrom the two larger instruments which were designated by the words " See also:

• GROS, ANTOINE JEAN, BARON (1771–1835)

gros bois." Haultbois became hautbois in See also:

• FRENCH
• FRENCH, DANIEL CHESTER (1850– )
• FRENCH, NICHOLAS (1604-1678)

French, and oboe in See also:

• ENGLISH

English, German and See also:

• ITALIAN

Italian; and this word is now used to distinguish the smallest in- strument of the family . During the 17th century some of the most important names connected with instrumental music in France are to be found amongst the Grands Hautbois of the Grande ):See also:

• CURIE, PIERRE (1859-1906)

curie du Roi, such as Hotteterre (See also:

• JEAN

Jean, See also:

• LOUIS
• LOUIS (804–876)
• LOUIS (893–911)
• LOUIS, JOSEPH DOMINIQUE, BARON (1755-1837)
• LOUIS, or LEWIS (from the Frankish Chlodowich, Chlodwig, Latinized as Chlodowius, Lodhuwicus, Lodhuvicus, whence-in the Strassburg oath of 842-0. Fr. Lodhuwigs, then Chlovis, Loys and later Louis, whence Span. Luiz and—through the Angevin kings—Hungarian

Louis and See also:

• NICHOLAS
• NICHOLAS (1841– )
• NICHOLAS (or NICLAES), HENRY (or HENDRIK) (c. 1501-C. 158o)
• NICHOLAS, SIR EDWARD (1593-1669)
• NICHOLAS, ST

Nicholas), See also:

• PHILIDOR, FRANCOIS ANDRE DANICAN (1726-1795)

Philidor (Jacques and See also:

• ANDRE, JOHN (1751-178o)

Andre), Gilles Allain, See also:

• DESTOUCHES, PHILIPPE (168o-1754)

Destouches, &c . ° In Germany the Schalmey was represented in the See also:

• TOWN

town band, in the See also:

• COURT
• COURT (from the O. Fr. court, Late Lat. cortis, curtis, a popular form of class. Lat. cohors, gen. cohortis; the mod. Fr. form tour is due to the influence of the Lat. curia, the word used in medieval documents to translate " court " in the feudal sense)
• COURT, ANTOINE (1696-176o)

Court and the See also:

• CHURCH
• CHURCH (according to most authorities derived from the Gr. Kvpcaxov [&wµa], " the Lord's [house]," and common to many Teutonic, Slavonic and other languages under various forms—Scottish kirk, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Buig. cerk
• CHURCH, FREDERICK EDWIN (1826-1900)
• CHURCH, GEORGE EARL (1835–1910)
• CHURCH, RICHARD WILLIAM (1815–189o)
• CHURCH, SIR RICHARD (1784–1873)

Church orchestras, and later in that of the See also:

• OPERA (Italian for " work ")

Opera . In 158o it is recorded that the Orchestra of the elector of Brandenburg10 includedSchalmeys and Bombarts . In See also:

• DRESDEN

Dresden the orchestra possessed (1593) no less than 16 Schalmeys, large and small . Hein-See also:

• RICH, BARNABE (c. 1540-1617)
• RICH, CLAUDIUS JAMES (1787-1821)
• RICH, JOHN (1692-1761)
• RICH, PENELOPE, LADY (c. 1562–1607)
• RICH, RICHARD, 1ST BARON RICH (1490?-1567)

rich Schutz, who founded the first Opera in Germany, at Dresden, used two fiffari or early oboes in 1629 in one of his See also:

• WORKS

works." The little Schalmey and the tenor Pommer seem to have disappeared in the 17th cen- tury; it is the discant Schalmey and the alto Pommer which by improvement have become two important members of the modern orchestra . The oboe, as such, was employed for the first See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time in 1671 in the orchestra of the Paris opera in Pomone by See also:

• CAMBERT, ROBERT (1628-1677)

Cambert . The first two keys -- y~ date from the end of the 17th century . It is not known who added the first keys to the oboe; there is, however, a See also:

• DRAWING

drawing of a French Hoboy in an English MS. by the third Randle Holme, which formed part of his See also:

• ACADEMY, GREEK
• ACADEMY, ROYAL

Academy of Armouryl2 known to have been written before 1688, in which the two keys are shown .

The instrument must have been well known in England at the time, and Randle Holnie's rough little drawing fixes the date of the transformation approximately as not later than 168o, probably earlier, since the oboe was used in Pomone in 1671 . According to the flautist Quantz13 the transformation of Schalmey into oboe took place when the keys for C See also:

• SHARP, GRANVILLE (1735-1813)
• SHARP, JAMES (1618-1679)
• SHARP, JOHN (1645-1714)
• SHARP, RICHARD (1759-1835)
• SHARP, WILLIAM (1749-1824)
• SHARP, WILLIAM (1856-1905)

sharp and D sharp were added, at about the same time as they were added to the See also:

• FLUTE

flute . In 1727 See also:

• GERHARD
• GERHARD, FRIEDRICH WILHELM EDUARD (1795-1867)

Gerhard See also:

• HOFFMANN, AUGUST HEINRICH (1798–1874)
• HOFFMANN, ERNST THEODOR WILHELM (1776-1822)
• HOFFMANN, JOHANN JOSEPH (1805-1878)

Hoffmann of Rastenberg 14 added the keys 1 . A Parisian maker, Delusse, furnished at the end of ' This picture, belonging to the See also:

• NATIONAL

National Museum of Madrid, represents a procession of all the religious orders in the See also:

• CITY (through Fr. cite, from Lat. civitas)

city of See also:

• ANTWERP
• ANTWERP (Fr. Anvers)

Antwerp on the festival of the Virgin of the See also:

• ROSARY (Lat. rosarium)

Rosary . 7 For further details see See also:

• MAHI

Mahi!lon's See also:

• CATALOGUE (a Fr. adaptation of the Gr. KaraXoyos, a register, from Karalyety, to enrol or pick out)

catalogue of the Musee du See also:

• CONSERVATOIRE (the Fr. equivalent of Ital. Conservatorio, Ger. Conservatorium, from Med. Lat. conservatorium, a place where anything is preserved, Lat. conservare, to preserve)

Conservatoire royal de musique de Bruxelles (See also:

• GHENT (Flem. Gent, Fr. Gand)

Ghent, 1896, vol. ii. p . 25) . 3 See I . Ecorcheville, " Quelques documents sur la musique de la Grande Ecurie du Roi," Int . See also:

• MUS

Mus . Ges . Sbd. ii . 4, p .

633 . ° Ib., Table II . 10 See Gropius, Beitrage z . Gesch . Berlins, 184o, Bd. ii . 11 Complete edition, vol. v . No . 7 . See See also:

• ERNST, HEINRICH WILHELM (1814–1865)

Ernst Euting, Zur Geschichte der Blasinstrumente See also:

• IM(K2+a2+h2—2 ah cos 0)

im 16 u . 17 Jahrh . (See also:

• BERLIN
• BERLIN, CONGRESS AND TREATY OF
• BERLIN, ISAIAH (1725–1799)

Berlin Inaugural Dissertation, 1899), published by A . Schulze, See also:

• RIXDORF

Rixdorf (Berlin), p .

47 . 12 See British Museum, Harleian MS . 2034, fol . 2o7b . 12 See Versuch einer Anleitung See also:

• DIE
• DIE (Fr. de, from Lat. datum, given)

die Flote traversiere zu spielen, p . 24 . 14 See Mattheson, Orchester, i. p . 268 and Eisel, Musikus at+ro-S16arcros, p . 96 . (6) The great double quint permitted the production_of the notes The Discant Schalmey . The Alto Pommer . The Tenor Pommer .

952 the 18th century much-appreciated improvements in the See also:

• BORING

boring of the instrument . The Methode of Sellner, published at See also:

• VIENNA (Ger. Wien; Lat. Vindobona)
• VIENNA, CONGRESS OF (1814-1815)

Vienna in 1825, shows nine keys the octave See also:

• KEY
• KEY (in O. Eng. tang; the ultimate origin of the word is unknown; it appears only in Old Frisian kei of other Teutonic languages; until the end of the 17th century the pronunciation was kay, as in other words in O. Eng. ending in aeg; cf. daeg, day; clang
• KEY (the phraseograms being indicated by hyphens)
• KEY, SIR ASTLEY COOPER (1821-1888)
• KEY, THOMAS HEWITT (1799-1875)

key, which, when opened, establishes a See also:

• LOOP

loop or ventral segment of vibration in the column of air, facilitating the See also:

• PRODUCTION (Lat. productionem, from producere, to pro-duce)

production of sounds in the octave higher . Triebert of Paris owes his great reputation to the numerous improvements he introduced in the construction of the oboe . The alto Pommer was but slowly transformed: it was called in French " hautbois de See also:

• CHASSE (Fr. for " chased ")
• CHASSE (from the Fr., in full chasse-cafe, or " coffee-chaser ")

chasse," in Italian " oboe di caccia." In the 18th century we find it more elegant in form, but with all the defects of the primitive instrument . The See also:

• IDEA (Gr. Ibia, connected with i&eiv, to see; cf. Lat. species from specere, to look at)

idea of bending the instrument into a half circular form to facilitate the handling is usually attributed to'an oboist of See also:

• BERGAMO
• BERGAMO (anc. Bergomum)

Bergamo, one Jean Ferlendis, who was established at See also:

• SALZBURG

Salzburg at about 1760 . This is obviously incorrect, since Ferlendis would then have been five years old.' It has been suggested that the fact of the instrument's resembling a kind of See also:

• HUNTING (the verbal substantive from " hunt "; O. Eng. huntian, hunta; apparently connected with O. Eng. hentan, Gothic hinpan, to capture, O.H.G. hunda,booty)

hunting horn used at that time in England probably gained for it the name of " corno inglese," which it still retains (" cor anglais " in French).2 The first employment of it in the orchestra is referred to See also:

• GLUCK

Gluck, who had two " cors anglais " in his Alceste, as played at Vienna in 1767 . But it was not until 1808 that the cor anglais was first heard in the Paris opera; it was played by the oboist See also:

• VOGT, KARL CHRISTOPH (1817-1895)

Vogt in See also:

• ALEXANDRE, NOEL (NATALIS ALEXANDER) (1639-1724)

Alexandre chez Apelle by Catel . The improvements in manufacture of-this instrument closely followed those introduced in the oboe . The 18th century produced an intermediate oboe between (2) and (3), which was called hautbois d'amour, and was frequently employed by J . S . See also:

• BACH, JOHANN SEBASTIAN (1685–1750)
• BACH, KARL PHILIPP EMANUEL (1714-1788)

Bach . It was a third lower than the See also:

• ORDINARY (med. Lat. ordinarius, Fr. ordinaire)

ordinary oboe, and was characterized by the See also:

• PEAR (Pyrus communis)

pear-shaped bell with narrow aperture See also:

• COMMON

common to all wind instruments known as d'amour to which is due their veiled sweet quality .

In the Spanish Cantigas, there are two Schalmeys with pear-shaped bells . This is in all See also:

• PROBABILITY (Lat. probabilis, probable or credible)

probability the doucaine mentioned in the 13th and 14th-century romances . The oboe d'amore See also:

• FELL
• FELL, JOHN (1625-1686)

fell into disuse after the See also:

• DEATH

death of the great German composer . It has been resuscitated by the See also:

• FIRM

firm of C . Mahillon of See also:

• BRUSSELS (Fr. Bruxelles, Flem. Brussel)

Brussels, and reconstructed with the improvements of modern manufacture . A similar timbre was artificially produced in the oboe by means of mutes or sordini composed of hollow cones of wood, balls of See also:

• PAPER
• PAPER (Fr. papier, from Lat. papyrus)

paper,3 nieces of sponge,' &c . After the 16th century we find the instruments which were designated by the name of " gros bois," the (5) and (6) of Praetorius, transformed into shorter instruments, the Fagott and Contrafagott, having a column of air of the same length and form as the Pommers, but the instrument itself consisted of two conical tubes communicating at the lower part of the instrument ; they were pierced in a single piece of wood . It is probably owing to the aspect of this double pipe that the satirical name of fagot was given, preserved in Italian as fagotto, and in German as Fagott . A See also:

• CANON

canon of See also:

• FERRARA

Ferrara named Afranio has been named as the author of the transformation, about 1539, of the bass Pommer, but See also:

• COUNT (Lat. comes, gen. comitis, Fr. comte, Ital. conte, Span. conde)

Count Valdrighi, the See also:

• CURATOR (Lat. for " one who takes care," curare, to take care of)

curator of the Estense library,' and Wasielewski,' who has reproduced the drawing of Afranio's invention, deprive 1 See See also:

• HENRI

Henri Lavoix, Histoire de l'See also:

• INSTRUMENTATION

instrumentation (Paris), p . III ; also See also:

• GERBER, ERNST LUDWIG (1746-1819)

Gerber's Lexikon, " Giuseppe Ferlendis "; and See also:

• ROBERT
• ROBERT (1275—1343)
• ROBERT, HUBERT (1753-1808)
• ROBERT, LOUIS LEOPOLD (1794-1835)

Robert Eitner, Quellenlexikon der Tonkiinstler, " Gioseffo Ferlendis," See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born 1755 . 2 This question is more fully treated under CoR ANGLAIS . 2 See Mattheson, Orchester, p .

266 . ' See Quantz, op. cit. p . 203 . Musurgiana, Il Phagotus d'Afranio . ' Geschichte der Instrumentalmusik im 76"" Jahrhundert (Berlin, 1878), p . 74.him of the merit of the innovation . The fagottino was transformed in the same See also:

• FASHION (adapted from Fr. facon, agon, Lat. factio, making, facere, to do or make)

fashion . See also:

• SIGISMUND (1368-1437)

Sigismund Schnitzer of See also:

• NUREMBERG (Ger. Nurnberg)

Nuremberg 7 acquired a great reputation in the 16th century for making the " basson," a French word substituted for the old fagot, and adopted in England as bassoon . His instrument had only two keys -- 1 . We cannot tell when the bassoon gained its See also:

• PRESENT

present form, but it was probably at the end of the 17th century . It was used in the orchestra in Germany by H . Schutz in 1619 (cir.),8 and in 1625, 5 fagotti were in use .9 See also:

• CESTI

Cesti, in his See also:

• GRAND

grand opera-il Porno d'oro,10 which was performed with the utmost brilliancy at the nuptials of the See also:

• EMPEROR (Fr. empereur, from the Lat. imperator)

emperor See also:

• LEOPOLD (M.H. Ger. Liupolt; O.H. Ger. Liupald, from hut, Mod. Ger. Leute, " people," and paid, " bold," i.e. " bold for the people ")

Leopold in Vienna, where printed See also:

• EDITIONS

editions of 1667 and 1668 are preserved, used fagatti combined with two cornets, three trombones and a See also:

• REGAL

regal to suggest the terrors of Hades .

See also:

• MICHAEL
• MICHAEL (1596-1645)
• MICHAEL (Hebrew Sn,q, " Who is like God? ")

Michael Praetorius (1618) expressly mentions the fagotto as an orchestral instrument . In France it was used with the oboe in 1671 in Cambert's See also:

• POMONA
• POMONA, or MAINLAND

Pomona in the newly founded French Opera, for which Cambert & Perrin had received in 1669 a Royal See also:

• PRIVILEGE

Privilege expiring in 1672, and there-after granted to See also:

• LULLY

Lully . It had three keys then The B at key render- bao- See also:

• ING

ing a lengthening of the instrument necessary, we may suppose it took its modern form at that See also:

• EPOCH (Gr. E7roxij, holding in suspense, a pause, from E1rxav, to hold up, to stop)

epoch . The See also:

• FOURTH

fourth key is found in a bassoon stamped Stanesby Junior, See also:

• LONDON

London, 1747,13 and also in one without maker's name, obviously earlier, to See also:

• JUDGE (Lat. judex, Fr. juge)

judge by the very early See also:

• PATTERN

pattern of the keys.12 The bassoon appears with four keys in the Encyclopedie of See also:

• DIDEROT, DENIS (1713-1784)

Diderot and d'See also:

• ALEMBERT, JEAN LE ROND

Alembert (Paris, 1751-1765) . The number of keys increased by the beginning of the present century to eight, viz.: , and two keys to facilitate the production of acute harmonics . It was improved by Almenrader in Germany, Savari, and more recently Triebert and Goumas, Paris, and C . Mahillon, Brussels .