El shawm o chirimía antigua es un instrumento de viento de lengüeta doble, predecesor del oboe. Su campanilla y pared interior cónicas son más amplias que las del oboe. Una rueda llamada pirueta, por lo común da soporte a los labios del músico. Las chirimías eran fabricadas en muchos tipos, desde agudos hasta bajos. Fueron usadas en el Medio Oriente posiblemente hace 2000 años y fueron introducidos en Europa durante las Cruzadas. Con su potente tono, las chirimías fueron clasificados como instrumentos "fuertes" o "de exteriores" siendo usados en bailes y para música ceremonial.

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The shawm is a conical bore, double-reed woodwind instrument made in Europe from the 12th century to the present day. It achieved its peak of popularity during the medieval and Renaissance periods, after which it was gradually eclipsed by the oboe family of descendant instruments in classical music. It was likely of ancient origin and was imported to Europe from the Islamic East at some point between the 9th and 12th centuries. Its name is linguistically related to the Arabic zamr, the Turkish zūrnā, the Persian surnāy, the Chinese suona, the Javanese saruni, and the Hindu sahanai or sanayi. The body of the shawm is usually turned from a single piece of wood, and terminates in a flared bell somewhat like that of a trumpet. Beginning in the 16th century, shawms were made in several sizes, from sopranino to great bass, and four and five-part music could be played by a consort consisting entirely of shawms. All later shawms (excepting the smallest) have at least one key allowing a downward extension of the compass; the keywork is typically covered by a perforated wooden cover called the fontanelle. The bassoon-like double reed, made from the same Arundo donax cane used for oboes and bassoons, is inserted directly into a socket at the top of the instrument, or in the larger types, on the end of a metal tube called the bocal. The pirouette, a small wooden attachment with a cavity in the center resembling a thimble, surrounds the lower part of the reed—this provides support for the lips and embouchure. Since only a short portion of the reed protrudes past the pirouette, the player has only limited contact with the reed, and therefore limited control of dynamics. The shawm’s conical bore and flaring bell, combined with the style of playing dictated by the use of a pirouette, gives the instrument a piercing, trumpet-like sound, well-suited for out-of-doors performance.

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