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Diagrams comparing the bores and placement of holes on three oboes: (a) hautboy; (b) modern French; (c) modern Viennese

Diagrams comparing the bores and placement of holes on three oboes: (a) hautboy; (b) modern French; (c) modern Viennese

Oxford Illustrators

Oboe reeds from the late 18th century to the 20th: (a) late 18th century, by Thomas Ling; (b) by Triébert, c1850; (c) modern French; (d) modern Viennese; (e) modern American (private collections)

Oboe reeds from the late 18th century to the 20th: (a) late 18th century, by Thomas Ling; (b) by Triébert, c1850; (c) modern French; (d) modern Viennese; (e) modern American (private collections)

Tony Bingham

Schematic drawing by Marc Ecochard of the treble and alto protomorphic hautboys in the borders of the Gobelins tapestry shown in fig.5

Schematic drawing by Marc Ecochard of the treble and alto protomorphic hautboys in the borders of the Gobelins tapestry shown in fig.5

(a) An hautboist: portrait by an anonymous artist, ?c1750, with (b) detail of reed from the same picture (Stiftelsen Musikkulturens Främjande, Stockholm)

(a) An hautboist: portrait by an anonymous artist, ?c1750, with (b) detail of reed from the same picture (Stiftelsen Musikkulturens Främjande, Stockholm)

Stiftelsen Musikkulturens Främjande, Stockholm

Delusse oboe from F.-J. Garnier’s ‘Méthode raisonnée pour le haut-bois’ (1802)

Delusse oboe from F.-J. Garnier’s ‘Méthode raisonnée pour le haut-bois’ (1802)

(a) Modern Viennese oboe by Hermann Zuleger (Bate Collection, Faculty of Music, University of Oxford); (b) experimental oboe by Romeo Orsi, Milan, 1918–30 (private collection)

(a) Modern Viennese oboe by Hermann Zuleger (Bate Collection, Faculty of Music, University of Oxford); (b) experimental oboe by Romeo Orsi, Milan, 1918–30 (private collection)

Tony Bingham

Frontispiece from Pierre Borjon de Scellery’s ‘Traité de la musette’ (Lyons, 1672): engraving by Thomas Blanchet; the long instrument on the ground beside the player is thought to be a quinte de hautbois

Frontispiece from Pierre Borjon de Scellery’s ‘Traité de la musette’ (Lyons, 1672): engraving by Thomas Blanchet; the long instrument on the ground beside the player is thought to be a quinte de hautbois

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Perspectives of New Music
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