Архитектура Аудит Военная наука Иностранные языки Медицина Металлургия Метрология
Образование Политология Производство Психология Стандартизация Технологии


Qureshi, Regula B(urckhardt)



(b Basle, 13 July 1939). Canadian ethnomusicologist and anthropologist. She studied the cello at the Curtis Institute of Music (1958–60), and took the MA in German at the University of Pennsylvania in 1962. After moving to Edmonton, she completed the MM (1973) and the PhD in anthropology and ethnomusicology (1981) at the University of Alberta. From 1983 to 1988 she was a McTaggart Fellow at the music department of the university, where she was appointed professor (1991) and founded the Centre for Ethnomusicology (1992); she was also made an adjunct professor of the departments of anthropology (1991) and religious studies (1992), and was associate dean of graduate studies (1994–6). Her work concentrates on music in Muslim cultures of India and Pakistan, and ranges from Urdu-language poetry, both chanted (tarannum) and sung (ghazal), to forms of vocal religious music, paticularly that of the Sufi ritual assembly (qawwālī). She has gained new insights into the performance models used in musical analysis through her visual documentation of creativity, function and meaning in the ritual process and through her examination of historicity in orally transmitted traditions. She has also studied the players of the bowed-lute sārangī in relation to issues of musical tradition and change in contemporary North Indian culture and she has published non-musicological writings on South Asian immigrants in Canada.

WRITINGS

‘Tarannum: the Chanting of Urdu Poetry’, EthM, xiii (1969), 425–68

Sufi Music of India and Pakistan: Sound Context and Meaning in Qawwali (diss., U. of Alberta, 1981; Cambridge and Delhi, 1986/R)

‘Islamic Music in an Indian Environment: the Shi'a Majlis’, EthM, xxv (1981), 41–71

‘Vocal and Instrumental Practice in the Islamic Ritual of South Asia’, IMSCR XIII Strasbourg 1982, i, 222–37

‘Making the Music Happen in the Qawwali’, Performing Arts in India: Essays on Music, Dance, and Drama, ed. B.C. Wade (Berkeley, 1983), 118–57; repr. in AsM, xviii/2 (1987), 118–57

The Muslim Community in North America (Edmonton, AB, 1983)

‘Musical Sound and Contextual Input: a Performance Model for Music Analysis’, EthM, xxxi (1987), 56–86

with others: ‘From Composer to Audience: the Production of Serious Music in Canada’, Canadian University Music Review, x/2 (1989), 117–37

‘Is there a Muslim raga Phenomenon in Hindustani Music?’, Maqam – Raga – Zeilenmelodik: Berlin 1988, 259–76

‘The Urdu Ghazal in Performance’, Urdu and Muslim South Asia: Studies in Honour of Ralph Russell, ed. C. Shackle (London, 1989), 175–90

‘Musical Gesture and Extra-Musical Meaning: Words and Music in the Urdu Ghazal’, JAMS, xliii (1990), 472–96

‘Sufi Music and the Historicity of Oral Tradition’, Ethnomusicology and Modern Music History: Festschrift Bruno Nettl, ed. S. Blum, P.V. Bohlman and D.M. Neuman (Urbana, IL, 1990), 103–20

‘Whose Music? Sources and Contexts in Indic Musicology’, Comparative Musicology and Anthropology of Music: Essays on the History of Ethnomusicology, ed. B. Nettl and P. Bohlman (Chicago, 1991), 152–68

‘“Muslim Devotional”: Popular Religious Music under British, Indian, and Pakistani Hegemony’, AsM, xxiv/1 (1992–3), 111–21

‘Time, Music and the Sufi Qawwali’, JM, xii (1994), 493–528

‘Is Complex Music Socially Significant? Doing Ethnomusicology in South Asia’, Canadian University Music Review, xv (1995), 44–69

‘Recorded Sound and Religious Music: the Case of Qawwali’, Media and Religion in South Asia, ed. L. Babb and S. Wadley (Philadelphia, 1995), 139–66

‘Suono musicale e input contestuale: un modello di performance per l’analisi musicale’, Uomini e suoni: prospettive antropologiche nella recerca musicale, ed. T. Magrini (Bologna, 1995), 213–52

ed., with B. Dalen and A. La Franc: ‘Voices of Women: Essays in Honor of Violet Archer’ , Canadian University Music Review, xvi/1 (1995) [incl. ‘Une femme musicienne dans un monde masculin: la voix de Begum Akhtar’, 96–113]

‘Transcending Space: Recitation and Community among South Asian Muslims in Canada’, Making Muslim Space: Mores, Mosques, and Movements in Europe and North America, ed. B.A. Metcalf (Berkeley, 1996), 79–101

‘The Indian Sarangi: Sound of Effect, Site of Contest’, YTM, xxix (1997), 1–38

‘Other Musicologies: Exploring Issues and Confronting Practice in India’, Rethinking Music, ed. N. Cook and M. Everist (Oxford, 1999, 311–35)

ed.: ‘Music and Tourism in South-East Asia’, Journal of Ethnomusicological Research (special issue; forthcoming)

‘When Women Recite: “Music” and the Islamic Immigrant Experience’, Music in American Religious Experience, ed. P. Bohlman (forthcoming)

BONNIE C. WADE

Qutb al-Dīn [Mahmūd ibn Mas‘ūd al-Shīrāzī]

(b Shiraz, 1236; d Tabriz, 1311). Persian physician and scientist. The most outstanding pupil of the mathematician Nasīr al-Dīn Tūsī, he is particularly known for his work in medicine, optics and astronomy. His encyclopedia, Durrat al-tāj (‘Pearl of the crown’) demonstrates his mastery of the whole range of traditional medieval scholarship, and contains within its treatment of the mathematical sciences (quadrivium) a lengthy section on music. This is mainly a restatement of the musical theory developed by Safī al-Dīn, but is important for its attention to musical practice, particularly in its codification and description of modes and rhythmic cycles. In both areas it points to the existence of a wider range of structures than is apparent from the works of Safī al-Dīn; its treatment of the modes in particular is far fuller, and is less restricted by purely theoretical concerns. It ends with the most extended, complex and precise example of notation to be found in the works of the medieval Arab and Persian theorists, a unique document which allows some insight into the nature of the compositional practice of the period with regard not only to formal, modal and rhythmic strategies but also to techniques of text setting.

WRITINGS

Durrat al-tāj [Pearl of the crown] (MS, GB-Lbl Add.7694); ed. S.M. Mashkūt and N.A. Taqwā (Tehran, 1939–46)

BIBLIOGRAPHY

EI2 (E. Wiedemann)

L. Leclerc: Histoire de la médecine arabe, ii (Paris, 1876), 129–30

C. Brockelmann: Geschichte der arabischen Litteratur, ii (Berlin, 1902, 2/1943), 211f

I. Rajabov: Makomlar masalasiga doir [On maqāms] (Tashkent, 1963)

S.H. Nasr: The Islamic Intellectual Tradition in Persia (London, 1996), 216–27

OWEN WRIGHT

Qu Wei [Ch'ü Wei]

(b Changzhou, Jiangsu province, 9 May 1917). Chinese composer. Known until 1945 as Qu Shixiong, he trained initially as a music and art teacher. Joining Mao Zedong’s Communist leadership at Yan'an in 1940, he gained a post at the Lu Xun College of the Arts, where he worked with many of the leading revolutionary Chinese composers of the period. He composed for government propaganda films and taught until 1955, when he went to Moscow to study at the Tchaikovsky Conservatory. This allowed him to formalize his compositional style as a fusion of Chinese melodic and rhythmic motifs with a post-Romantic but essentially tonal language. On his return to China in 1959 he became composer-in-residence of the Shanghai SO. Other than film and orchestral music, Qu has composed mass songs, opera and piano music. His style might be described as socialist realist, in the sense that his pieces are intended both to reflect the lives of the masses and to lead them through the revolutionary process. He has published Qu Wei wen xuan (‘Selected articles by Qu’, Guangzhou, 1996).

WORKS

(selective list)

Dramatic: Baimao nü [The White-Haired Girl] (op), 1945, collab. Ma Ke, Zhang Lu and others, arr. as film score, 1951, collab. Ma Ke, Zhang Lu, arr. as ballet suite, 1974
Inst: Mongolian Nocturne, pf, 1941; Str Qt, G, 1957; Renmin yingxiong jinian bei [Monument to the People’s Heroes], sym. poem, 1958; Wuzhishan, fantasia, orch, 1988; Qu Wei gangqin quji [A Collection of Qu’s Piano Music] (Beijing, 1991)
Choral: Gongren jieji yinggutou [The Unyielding Nature of the Working Classes], mass song, 1964; Youtian song [Ode of the Oilfield] (cant.), 1965

BIBLIOGRAPHY

Li Jiti: ‘Taxue xunmei diyicheng: zuoqujia Qu Wei chuangzuo zhe tan’ [A first journey over snow in search of plum blossom: a discussion of the works of composer Qu], Yinyue yanjiu (1994), no.4, pp.16–24

Zhongguo wenxue yishu jie lianhe hui, eds.: Xiaosa pu chunqiu: Zhongguo dangdai shiwei lao yinyuejia yishu huace [A natural record of life: a pictorial anthology of ten senior modern Chinese musicians] (Beijing, 1996), 89–100

JONATHAN P.J. STOCK

Qu Xiao-song

(b Guizhou, 6 Sept 1952). Chinese composer. A self-taught violinist and violist, he played with a Beijing opera company in his home town. His work as a farmer during the Cultural Revolution is reflected in his compositions, which demonstrate a concern for nature and a respect for Chinese folklore and folk music. After graduating from the Central Conservatory in Beijing (1983), he became a member of the composition faculty. In 1989 he was invited to the USA as a visiting scholar at Columbia University.

Many of Qu’s early works were inspired by the spirit of nature in rural southern China. Mong Dong (1984) is a sonic manifestation of the indigenous art of the Wa people in Yunnan province; in this work, as in many others, Qu blends an expressive human voice with instruments. His cantata Cleaving the Coffin (1987) synthesizes traditional Sichuan opera with Western techniques. Two operas based on the Oedipus story, Oedipus (1992–3) and The Death of Oedipus (1993–4), demonstrate his ideal of returning to the essence of music through an economic use of sound and silence. The chamber music series Ji (‘Silence’, from 1990) uses concise and refined sounds to allude to the peaceful infinity of time and space. He has received numerous commissions from festivals and organizations internationally.

WORKS

(selective list)

Dramatic

Ops: Oedipus (C. Fellbom), 1992–3; The Death of Oedipus, 1993–4
Film scores: Sacrifice of Youth, 1984; The Big Military Review, 1985; Horse Thief, 1985; Hunting on the Ground, 1985; The King of Children, 1987; Life on a String, 1990; Pushing Hands, 1991
Other dramatic: Cleaving the Coffin (cant., Gao Xingjiam), S, 2 T, mixed chorus, orch, 1987; Revolutionary Op (experimental theatre, D. Yong), 1992; Ocean and Mountain (experimental theatre, Yong), 1996; The Third Kingdom of Yulong Mountain (dance score, Chiang Ching), 1996

Other works

Inst: Str Qt, 1981; Str Sym., str, perc, 1981; The Girl of the Mountain, vn, orch, 1982; The Mountain, orch, 1983; Conc., vc, orch, 1985; Huan, orch, 1985; Sym. no.1, orch, 1986; Ji no.1 ‘Still Valley’, fl, cl, vn, va, db, pf, perc, 1990; Lam Mot, perc trio, 1991; Xi, 6 perc, 1991; Ji no.2 ‘Floating Clouds’, shakuhachi, cl, pf, perc, 1994; Ji no.3 ‘Silent Mountain’, gui/pipa, 1994; Ji no.4 ‘Bare Land’, perc, tape, 1995; Ji no.5 ‘Broken Stone’, koto, sho, str qt, 1995; Ji no.7 ‘Motionless Water’, vn, 1997
Vocal: Mong Dong, male v, chbr ens, 1984; Mist, S, Bar, chbr ens, 1991; Fang Yan Kou, Buddhist ritual, male v, chbr ens, 1996
Principal publisher: Peer-Southern

ZHANG WEIHUA

Qweldryk.

See Queldryk.


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