QU on Music Theory Print

Quaker music

Mon, 01 Jan 0001 00:00:00 +0000

19th and 20th centuries#

During the 19th century there was a split within Quakerism, with one branch wanting to return to some of the ways of Protestant churches, with a programmed service including hymns, and the other wishing to retain the traditional service of silent worship punctuated by spontaneous ministry. Although non-programmed Quaker Meetings for Worship remained silent, for the most part, with music rarely used, the attitudes towards music began to shift towards a more relaxed view in the mid-nineteenth century. In particular, many of the poems of John Greenleaf Whittier were set to music and well received. The hymn “How Can I Keep from Singing?,” first published in 1868 by Robert Lowry, was adopted by twentieth century Quakers. The lyrics to the first verse are as follows: My life flows on in endless song; Above earth’s lamentation, I hear the sweet, tho’ far-off hymn That hails a new creation; Thro’ all the tumult and the strife I hear the music ringing; It finds an echo in my soul— How can I keep from singing? One of the most notable versions was created and performed by Peter Seeger, who was told it was a Quaker song. The song was, and continues to be, such a favorite of the Quaker community that is often wrongly attributed to Quaker or Shaker origins. 20th century English Quaker songwriters include Donald Swann of Flanders & Swann, and Sydney Carter, whose best-known song is “Lord of the Dance”.

Quan họ

Mon, 01 Jan 0001 00:00:00 +0000

External links#

Quan Ho, folk song, MP3, Video
Quan ho MP3, Video
Nhac dan ca
Dan Ca Viet

Qudud Halabiya

Mon, 01 Jan 0001 00:00:00 +0000

History#

Qudud Halabiya originated in al-Andalus. However, it was formed as a musical genre in the Levant, mainly in the city of Aleppo. It was developed by the musicians in Aleppo, based on secular, folk and religious songs. During the 20th century, Qudud Halabiya further developed and popularized by many Aleppine musicians including Omar al-Batsh (1885–1950), Abdul Qader al-Hajjar (1917–1993), Bakri al-Kurdi (1909–1978), Bakri Rajab (1910–1979), Sabri Moudallal (1918-2006), Sabah Fakhri (1933-2021), Mohammad Khairy (1935-1981), etc. Contemporary Qudud Halabiya performers include Mohammad Qadri Dallal, Shadi Jamil, Nihad Najjar, Hamam Khairy, Shahd Barmada, Nadya Manfukh, Subhi Toufic, Ahmad Azrak etc.

Quebec fiddle

Mon, 01 Jan 0001 00:00:00 +0000

History and development#

According to Reiner and Anick, the affinity between Anglo-Celtic and French fiddle music dates to the 17th century. Solo style predominated in the rugged frontier land where a small fiddle could be easily managed. Thus, cross tunings, drone notes and complex rhythms evolved to fill the gaps left in unaccompanied playing and this resulted in a highly developed style. Clogging was often the only available accompaniment, and, much like the Indigenous Metis fiddle style, percussive and rhythmic playing is notably developed in this style. As with the French-speaking Cajun fiddle style, German button accordion created a fad which temporarily influenced the form, as did the eventual introduction of piano in the urban center Montreal.

Quebradita

Mon, 01 Jan 0001 00:00:00 +0000

History#

In a 2002 encyclopedia article on the quebradita, Sydney Hutchinson, the author, wrote that some people believe that the form originated from the U.S.-Mexico border area while some believe it originated in Jalisco or Sinaloa, and that the history of the dance form is “somewhat hazy”. California residents gave the new dancing style the name quebradita. In the early 1990s, this dance form became popular in Los Angeles and the Southwestern United States. Many communities and schools had quebradita dance groups staffed by young people. In the 2002 encyclopedia article, Hutchinson stated that the music continues to be performed along the U.S.-Mexico border at concerts, nightclubs, and parties, but that the quebradita had “significantly declined” in popularity as a performance and competition dance.

Queercore

Mon, 01 Jan 0001 00:00:00 +0000

Origins#

In the early 1980s, several U.S. hardcore bands wrote queer-themed songs, and Gary Floyd of the Dicks along with Randy Turner of Big Boys were both openly gay. In England, in the anarcho-punk scene, Andy Martin of The Apostles was equally forthright. Politically motivated U.S. bands such as MDC and 7 Seconds also introduced anti-homophobia messages into their songs at this time, while the Nip Drivers included a song titled “Quentin”, dedicated to Quentin Crisp, in their repertoire. The zine J.D.s, created by G.B. Jones and Bruce LaBruce, is widely acknowledged as being the zine which launched the movement. “J.D.s is seen by many to be the catalyst that pushed the queercore scene into existence”, writes Amy Spencer in DIY: The Rise of Lo-Fi Culture. Emerging out of the anarchist scene, at first the editors of J.D.s had chosen the appellation “homocore” to describe the movement but replaced the word homo with queer to better reflect the diversity of those involved, as well as to disassociate themselves completely from the confines of gay and lesbian orthodoxy. The first issue was released in 1985, with a manifesto entitled “Don’t Be Gay” published in the fanzine Maximum RocknRoll following soon after; inspiring, among many other zines, Holy Titclamps, edited by Larry-bob, Homocore by Tom Jennings and Deke Nihilson, Donna Dresch’s Chainsaw, and Outpunk by Matt Wobensmith, these last two later functioning as music labels. These zines, and the movement, are characterised by an alternative to the self-imposed ghettoization of orthodox gay men and lesbians; sexual and gender diversity in opposition to the segregation practiced by the mainstream gay community; a dissatisfaction with a consumerist culture, proposing a DIY ethos in its place in order to create a culture of its own; and opposition to oppressive religious tenets and political repression.

Quickstep (march music)

Mon, 01 Jan 0001 00:00:00 +0000

History#

Evidence of the use of music within a military context dates back to Ancient history where advancing armies from a variety of cultures were spurred on by the sounds of musical instruments. Little military music from this period survives. In the Middle Ages European armies had their own unique drum calls, and later writings about European military advances and maneuvers during the 16th and 17th centuries indicate that armies were not only using marches, but that armies were often associated with their own particular marches and march rhythms. The 1908 Grove’s Dictionary of Music and Musicians writes that it is the English name for the music of the quick march in the army, in which there are 116 steps of 30 inches per minute, as compared to 75 steps of 30 inches in slow march and 165 of 33 inches in the double time march.

Quiet storm

Mon, 01 Jan 0001 00:00:00 +0000

Origins#

Melvin Lindsey, a student at Howard University, with his classmate Jack Shuler, began as disc jockeys for WHUR in June 1976, performing as stand-ins for an absentee employee. Lindsey’s on-air voice was silky smooth, and the music selections were initially old, slow romantic songs from black artists of the 1950s, 1960s, and 1970s, a form of easy listening which Lindsey called “beautiful black music” for African Americans. The response from listeners was positive, and WHUR station manager Cathy Hughes soon gave Lindsey and Shuler their own show. The name of the show came from the Smokey Robinson song “Quiet Storm”, from his 1975 album A Quiet Storm. The song developed into Lindsey’s theme music which introduced his time slot every night. “The Quiet Storm” was four hours of melodically soulful music that provided an intimate, laid-back mood for late-night listening, and that was the key to its tremendous appeal among adult audiences. The format was an immediate success, becoming so popular that within a few years, virtually every station in the U.S. with a core black, urban listenership adopted a similar format for its graveyard slot. Philadelphia’s WDAS-FM had begun a similar format in 1972, where Tony Brown hosted “The Extrasensory Connection.” That program was renamed to “The Quiet Storm” in 1976, and is still on the air. In the San Francisco Bay Area, KBLX-FM expanded the night-time concept into a 24-hour quiet storm format in 1979. In the New York tri-state late night market, Vaughn Harper deejayed the quiet storm graveyard program for WBLS-FM which he developed with co-host Champaine in mid-1983. In 1993, Harper took ill and Champaine continued the program as Quiet Storm II. Lawrence Tanter of KUTE in Greater Los Angeles replicated the KBLX format and changed his station to an all-day quiet storm format from January 1984 until September 1987, playing “a hybrid that incorporates pop, jazz, fusion, international, and urban music”. Addressing the misconception that quiet storm was only for blacks, Tanter said his listenership was 40% black, 40% white, and 20% other races. WLNR-FM in Chicago also changed in August 1985 to a 24-hour quiet storm program called “The Soft Touch”, featuring more instrumental music and even straight-ahead jazz, a mix which sales manager Gregory Brown described as “not so laid-back” as other quiet storm shows. A notable feature of WLNR was that the four regular deejays were women.

Quodlibet

Mon, 01 Jan 0001 00:00:00 +0000

Renaissance#

The quodlibet originated in 15th-century Europe, during a time when the practice of combining folk tunes was popular. Composer Wolfgang Schmeltzl first used the term in a specifically musical context in 1544. The Por las sierras de Madrid by Francisco de Peñalosa (c. 1470–1528) is an ensalada -an early form of the quodlibet- contained in the Cancionero Musical de Palacio, a manuscript of the early 16th century. Composer Ludwig Senfl (1486–1542/43) was able to juxtapose several pre-existing melodies in a cantus firmus quodlibet; one such piece, "" / “Es taget”, was noted for its symbolism rather than its humor. It was not until 1618, however, that anyone published a rigorous definition of the quodlibet: Michael Praetorius described it as “a mixture of diverse elements quoted from sacred and secular compositions”. During the Renaissance, a composer’s ability to juxtapose several pre-existing melodies, such as in the cantus firmus quodlibet, was considered the ultimate mastery of counterpoint.

Quyi

Mon, 01 Jan 0001 00:00:00 +0000

History#

While the storytelling art concept has been around for centuries, the narrative art concept was mostly recognized in the 1920s. Only after 1949 with the founding of the People’s Republic of China did the term quyi become widely used. Prior to this, it was just classified as shuochang yishu. This is one of the art category that gained momentum since the New Culture Movement. With the exception of the Cultural Revolution period, a great number of stories written for this art are preserved.