oboe

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oboe

(ō`bō, ō`boi) [Ital., from Fr. hautbois] or

hautboy

(ō`boi, hō`–), woodwind instrument of conical bore, its mouthpiece having a double reed. The instruments possessing these general characteristics may be referred to as the oboe family, which includes the English hornEnglish horn,
musical instrument, the alto of the oboe family, pitched a fifth lower than the oboe and treated as a transposing instrument. It has a pear-shaped bell, giving it a soft, melancholy tone.
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, the bassoonbassoon
, double-reed woodwind instrument that plays in the bass and tenor registers. Its 8-ft (2.4-m) conical tube is bent double, the instrument thus being about 4 ft (1.2 m) high. It evolved from earlier double-reed instruments in the 16th cent.
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, and the contrabassooncontrabassoon,
large, deep-toned instrument of the oboe family, also called double bassoon. Its tube, over 16 ft (5 m) long, is doubled upon itself four times. It was first made by Hans Schreiber of Berlin in 1620.
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 or double bassoon. The oboe was developed in the mid-17th cent. in France from various older double-reed instruments, which the oboe, with its greater expressive and dynamic range, largely displaced by the 18th cent. It was soon used in the orchestra, possibly as early as 1657, and was the principal orchestral woodwind throughout most of the 18th cent., the flute and clarinet gaining an equal footing only late in the century. It was also a favorite solo instrument, and it has an extensive solo and chamber-music literature from the baroque and early classical periods. In the 19th cent., although retaining its importance in the orchestra, it was rarely employed for solo purposes. In the 20th cent. its solo use has increased. It was gradually improved mechanically, notably in the 19th cent., and the Conservatory model, developed in France, is most used now. The oboe d'amore, pitched a minor third lower than the oboe, was much used in the baroque era, especially by J. S. Bach. It fell into disuse thereafter, but has been revived in the 20th cent. Its tone is less brilliant than that of the oboe. The oboe da caccia is an early version of the English horn, pitched a fifth lower than the oboe and therefore a transposing instrument. Oboes of this size were known by 1665, and Purcell scored for one in his Dioclesian (1691). A curved form, often with the present instrument's characteristic bulbous bell, appeared in the 18th cent. and was employed occasionally by Bach, Haydn, and Mozart. See also shawmshawm
, double-reed woodwind instrument used in Europe from the 13th through the 17th cent. The term denotes a family of instruments of different sizes. The shape and tone of the soprano shawm are comparable to those of the oboe, of which it is a precursor.
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Oboe

 

a reed woodwind musical instrument. It originated in France in the second half of the 17th century from an instrument of the Middle Ages, the shawm (Schalmei).

The modern oboe is a straight wooden pipe consisting of a top joint, a middle joint, and a bell. It has 25 holes, of which 22-24 are covered by keys. The instrument uses a double reed made from a special type of cane. Two systems of oboes exist—German and French. The oboe of the French system, which has a better key construction and is distinguished by the purity of its intonation, is widespread; its sound is piercing, with a nasal timbre. The oboe occupies an important place among the woodwind instruments used in symphonic and operatic orchestras. It is also used as a solo and ensemble instrument. Types of oboes include the tenor oboe, or English horn; and the alto oboe, or oboe d’amore.

S. IA. LEVIN

Oboe

[′ō‚bō]
(navigation)
An electronic navigation system utilizing a single-path round-trip system for determination of transmission times and distance; used for bombing in World War II.

oboe

a woodwind instrument of the family that includes the bassoon and cor anglais, consisting of a conical tube fitted with a mouthpiece having a double reed. It has a penetrating nasal tone. Range: about two octaves plus a sixth upwards from B flat below middle C
References in periodicals archive ?
IN HARMONY: The Oboe Band are (from left) Frances Norbury, Joel Raymond, Rebecca Stockwell and Sarah Humphrys and are playing in Huddersfieid next week
414) that contributed to the lowering of quality in French woodwind publications after 1730, yet he does not fully take into account a subtler influence that marketing music to amateurs presents in France and elsewhere during the golden age of the baroque oboe between 1700 and 1730.
His thorough coverage of oboe bands, solos, concertos, quartets, and obbligatos with voice for this period is unrivaled in the literature, and as such takes its place on bookshelves beside his invaluable oboe bibliography: Bruce Haynes, Music for Oboe 1650 to 1800: A Bibliography, 2d ed.
56 (Studien fur den Pedal-Flugel for two oboes (oboe and English horn in the second etude) with piano or organ.
The Robert Bloom Collection: Solo Works and Chamber Music for Oboe.
And such it proved to be as I unwrapped the massive package containing this unparalleled collection of oboe music, each work enclosed in rich burgundy covers as though they indeed were treasures.
Looking for a work to fill out my master's degree recital program, Sprenkle produced Bloom's Sonatina for Oboe and Piano in a muchtattered manuscript copy.
Especially valuable are her extensive notes on the Mozart Oboe Concerto and her fourteen-page essay "The Art of Elaborating 18th-Century Music: Remarks Gathered from the Writing and Teaching of Robert Bloom and a First Lesson.
Since it is beyond the scope of this review for me to examine each of the forty-some works in the collection, I shall single out four cornerstone masterpieces of the oboe repertory for some brief discussion.
Handel's Oboe Concerto in G Minor is certainly one of the most often studied and performed oboe concertos--and deservedly so, for it is a work of great nobility and strength.
The D-Minor Oboe Concerto of Alessandro Marcello (an almost exact contemporary of J.
Sara Bloom gives something of an oboe lesson here and elsewhere in the collection when she discusses her husband's approach to the technique of detache staccato.