Research Article


DOI :10.26650/CONS2024-1480490   IUP :10.26650/CONS2024-1480490    Full Text (PDF)

Baroque Oboe

Ayşin Pelin Kiremitci

Oboe is a double-reed, wooden wind instrument that is not well known in our country, but whose ancestors have a long history in these lands. Oboe, a derivative of the zurna, which has a great role in the history and cultural structure of the Turkish people, comes to mind as a very different, large and deep-voiced instrument due to the low vowels in its name. However, the oboe is a delicate instrument defined as a soprano instrument in modern orchestras. This work; It includes the evolution of the zurna, an instrument integrated with the Turkish people, into the oboe, or Baroque Oboe as it was called at the time, during the European adventure. Before this study, foreign sources about oboe and wind instruments were scanned, libraries, music and instrument magazines, encyclopedias and websites were searched. Since it is necessary to know the old instruments that are similar to the oboe in order to understand the music of the old period and their interpretation styles, the study was not limited to the Baroque Period, but the first examples of double-reed wooden wind instruments were also used in the pre-Baroque period. A simple form of expression was used in order to create a Turkish resource for oboe students. In addition, this study is intended to be a resource that will shed light on the capacity of the instrument for composers or composition students who want to write works for the baroque oboe. 

DOI :10.26650/CONS2024-1480490   IUP :10.26650/CONS2024-1480490    Full Text (PDF)

Barok Obua

Ayşin Pelin Kiremitci

Obua, ülkemizde fazla tanınmayan ancak, atalarının bu topraklarda oldukça uzun süreli bir geçmişi olan çift kamışlı, tahta üflemeli bir çalgıdır. Türk insanının geçmişinde ve kültür yapısında büyük rolü olan zurnanın bir türevi olan obua, isminde bulunan kalın sesli harflerden dolayı zihinlerde çok farklı, iri ve kalın sesli bir çalgı gibi canlanmaktadır. Oysa ki obua, modern orkestralarda soprano çalgı olarak tanımlanan narin bir çalgıdır. Bu çalışma; Türk insanıyla bütünleşmiş bir çalgı olan zurnanın Avrupa macerasında obuaya, dönemin ismiyle Barok Obua’ya evrilme sürecini içermektedir. Bu çalışma süreci öncesinde, obua ve nefesli çalgılarla ilgili yabancı kaynaklar taranmış, kütüphaneler, müzik ve çalgı dergileri, ansiklopediler ve internet siteleri araştırılmıştır. Eski dönem müziklerinin ve yorum tarzlarının anlaşılması bakımından obuaya benzerlik gösteren eski çalgıları da tanımak gerektiğinden çalışma sadece Barok Dönem ile sınırlı tutulmamış, Barok öncesi dönemde de çift kamışlı tahta üflemelilerin ilk örneklerinden yararlanılmıştır. Obua öğrencilerine Türkçe kaynak oluşturabilmek amacıyla basit bir anlatım şekli kullanılmıştır. Ayrıca bu çalışmanın, Barok Obua için eser yazmak isteyen besteciler ya da kompozisyon öğrencilerine, çalgının kapasitesi hakkında ışık tutacak bir kaynak olması amaçlanmıştır.


EXTENDED ABSTRACT


The baroque oboe, which is generally encountered in the advanced stages of oboe training, is a very enjoyable instrument to discover, especially for people who are interested in history. Understanding that many finger positions, playing techniques and flexibility in lip positions, which are learned without questioning throughout the training process that starts at the beginning stages of modern oboe training, depend on this instrument, increases the interest in the baroque oboe. It has become necessary to examine the structural qualities of the baroque oboe and examine its historical journey in order to popularize the unique sound of this instrument, which is very rare in the active music world, especially in Turkiye, and to understand the feature of performing baroque music with original instruments. In this study, in addition to the baroque oboe, examples of other double-reed instruments that have gained popularity in various regions such as Europe, Africa, the Middle East and the Far East are also given in order to shed light on the historical development.

In this study, the changes in the size and physical structure of this double-reed woodwind instrument according to geographical regions and the fact that timbral differences emerged with the use of available materials in its habitat have been emphasized. It has been stated that reed sizes also change to facilitate the use of glissando due to the different influences of regional cultures. For example, voice shifting forms, which are very common under the influence of the Arab culture in North Africa, were achieved not by changing finger positions but by controlling lip pressure with a wide reed structure. This playing technique and similar ones are parallel to the musical culture of the people of all regions. In addition to the wood materials used in double-reed wind instruments in the Far East, bambo-shaped pikes are also found. However, the fact that these bambo trunks, which are directly exposed to moisture, are less durable than wooden trunks, prevented most instruments from surviving to the present day.

One of the biggest problems in the playing of the baroque oboe is the difficulty of playing tonalities containing complex tonalities (3 sharp/flat and above). It started with the understanding of music developing over time and increasing expectations, with the aim of facilitating the finger positions of the keys added to the instrument in tonalities containing complex tonalities and seeking solutions to the intonation problems that arise. The first keys added to the Baroque oboe, the C and E flat keys, which could not be achieved with lip pressure control, were adopted as standards for many years and were applied to the instrument with the ornamental features brought by the period. Examples of ornamentation from personalized instruments with social, religious and cultural influences are also included in this study.


PDF View

References

  • Croft, E. (1980). An Early Eighteenth-Century Drawing of Wind Instruments. Galpin Society Journal, (33). 122-130. google scholar
  • Halfpenny, E. (1949). The English 2- and 3-Keyed Hautboy. Galpin Society Journal, (2), 10-26. google scholar
  • Halfpenny, E. (1953). The French Hautboy: A Technical Survey. Galpin Society Journal, (6), 23-34. google scholar
  • Haynes, B., & Burgess, G. (2004). The Oboe. Yale University Press. New Haven and London. google scholar
  • Haynes, B. (1981). Early Double-Reeds: Prospectus for a Survey of the Historical Evidence. Journal of the International Double Reed Society, (9), 43-47. google scholar
  • Haynes, B. (1984). Double Reeds, 1660-1830: A Survey of Surviving Written Evidence. Journal of the International Double Reed Society, (12), 14- 33. google scholar
  • Haynes, B. (1991). Beyond Temperament: Non-keyboard Intonation in the 17th and 18th Centuries. Early Music, (19), 357-381. google scholar
  • Haynes, B. (1979). Interim List for Baroque Oboe. Journal of the International Double Reed Society, (7), 51-62. google scholar
  • Joppig, G. (1981). Oboe und Fagott: Ihre Geschichte, ihre Nebenisntrumente und ihre Musik. Bern & Stuttgart: Hallwag. Kibea Publishing Company. google scholar
  • Kiremitci, A. P. (2008). Baroktan Moderne Obuanın Mekanik Yapısının Gelişimi, (Yayınlanmamış Sanatta Yeterlik Tezi), İstanbul Üniversitesi. google scholar
  • Kiremitci, A. P. (2023). Obua Ailesinden Bir Romantik: Aşk Obuası Prof. Dr. Begüm Öz, Doç Bahadır Çokamay (ED) Müzik Sanatı ve Eğitiminde Çağdaş Yaklaşımlar VI Kitabı içinde Sayfa 203-223. google scholar
  • Radevsky, A. (2000). The Illustrated Encyclopedia of Musical Instrument. University of Victoria. google scholar
  • Westrup J., & Harrison F. L. I. (1976). Collins Encyclopedia of Music. Collins Books. google scholar
  • Young, Ph. T. (1998). Loan Exhibition of Historic Double Reed Instruments. University of Victoria. google scholar

Citations

Copy and paste a formatted citation or use one of the options to export in your chosen format


EXPORT



APA

Kiremitci, A.P. (2024). Baroque Oboe. Conservatorium, 11(1), 191-206. https://doi.org/10.26650/CONS2024-1480490


AMA

Kiremitci A P. Baroque Oboe. Conservatorium. 2024;11(1):191-206. https://doi.org/10.26650/CONS2024-1480490


ABNT

Kiremitci, A.P. Baroque Oboe. Conservatorium, [Publisher Location], v. 11, n. 1, p. 191-206, 2024.


Chicago: Author-Date Style

Kiremitci, Ayşin Pelin,. 2024. “Baroque Oboe.” Conservatorium 11, no. 1: 191-206. https://doi.org/10.26650/CONS2024-1480490


Chicago: Humanities Style

Kiremitci, Ayşin Pelin,. Baroque Oboe.” Conservatorium 11, no. 1 (Nov. 2024): 191-206. https://doi.org/10.26650/CONS2024-1480490


Harvard: Australian Style

Kiremitci, AP 2024, 'Baroque Oboe', Conservatorium, vol. 11, no. 1, pp. 191-206, viewed 2 Nov. 2024, https://doi.org/10.26650/CONS2024-1480490


Harvard: Author-Date Style

Kiremitci, A.P. (2024) ‘Baroque Oboe’, Conservatorium, 11(1), pp. 191-206. https://doi.org/10.26650/CONS2024-1480490 (2 Nov. 2024).


MLA

Kiremitci, Ayşin Pelin,. Baroque Oboe.” Conservatorium, vol. 11, no. 1, 2024, pp. 191-206. [Database Container], https://doi.org/10.26650/CONS2024-1480490


Vancouver

Kiremitci AP. Baroque Oboe. Conservatorium [Internet]. 2 Nov. 2024 [cited 2 Nov. 2024];11(1):191-206. Available from: https://doi.org/10.26650/CONS2024-1480490 doi: 10.26650/CONS2024-1480490


ISNAD

Kiremitci, AyşinPelin. Baroque Oboe”. Conservatorium 11/1 (Nov. 2024): 191-206. https://doi.org/10.26650/CONS2024-1480490



TIMELINE


Submitted08.05.2024
Accepted31.05.2024
Published Online04.06.2024

LICENCE


Attribution-NonCommercial (CC BY-NC)

This license lets others remix, tweak, and build upon your work non-commercially, and although their new works must also acknowledge you and be non-commercial, they don’t have to license their derivative works on the same terms.


SHARE




Istanbul University Press aims to contribute to the dissemination of ever growing scientific knowledge through publication of high quality scientific journals and books in accordance with the international publishing standards and ethics. Istanbul University Press follows an open access, non-commercial, scholarly publishing.