Academic literature on the topic 'Steve Gadd'

I dette nummer er følgnde bøger blevet anmeldt:Kirsten Hastrup: Vinterens hjerte. Knud Rasmussen og hans tid. Gads forlag, 2010.Marie Bruvik Heinskou: En kompleks affære. Anmeldte voldtægter i Danmark. Ph.d.- afhandling, Sociologisk Institut, Københavns Universitet. Forsvaret august 2010.Susanne V. Knudsen: Køn i skolen. Forlaget Frydenlund, 2010.Momin Rahman og Stevi Jackson. Gender & Sexuality: Sociological Approaches. Polity Press, 2010.Richard Cleminson og Francisco VÁZQUES García. Hermaphroditism, Medical Science and Sexual Identity in Spain, 1850-1960. University of Wales Press, 2009.

The exploration of creative rhythmic drum patterns – many of which borrow from divergent musical styles – continues to be a focus for those at the vanguard of contemporary drumming. This performance-based study, submitted for the degree of PhD at the Elder Conservatorium of Music, University of Adelaide, looks at six representative pop/rock drummers who remain revered for their signature drum patterns. The drummers in question are Ginger Baker, Stewart Copeland, Sly Dunbar, Steve Gadd, Zigaboo Modeliste and Bernard Purdie, who reached arguably the high point of their creativity between 1965- 1992, each of them being celebrated for their absorption of cross-stylistic influences and imaginative use of techniques in the creation of new rhythmic patterns. Ginger Baker’s early recordings in the mid-1960s saw him combining African and jazz influences with rock/blues rhythms, establishing him as a pioneer in this field and creating a platform for other drummers to follow. This investigation highlights the prolific output of the above-mentioned drummers during this period, subsiding noticeably by the early 1990s due to the advancement of the drum machine and programming in the recording studio. Each of these drummers has in their own way profoundly shaped the direction of pop/rock music, and each of them constitutes a rich resource for the contemporary pop/rock drummer. The intention here is to expand the creative potential of these resources and recontextualise each drummer’s signature drum patterns so that we can speculate what Bernard Purdie’s patterns might be like if performed by Ginger Baker, Stewart Copeland, and so on. This kind of self-referentialism is pursued in the belief that not only does it give greater insight into each drummer’s technical and rhythmic syntax, but it leads to outcomes greater than the sum of their parts. The original source recordings have been analysed aurally and this process of aural analysis has led to the written explanations of techniques for each of the sixteen songs in tabular form. The analytical process has informed the synthesis of techniques in the author’s own recorded performances. The submission consists of a portfolio of the author’s own audio and video recordings supported by a dissertation.
Thesis (Ph.D.) -- University of Adelaide, Elder Conservatorium of Music, 2022

Improvised drum solos by Steve Gadd, Vinnie Colaiuta, Dave Weckl, Trilok Gurtu, and Jojo Mayer are examined in the context of interactive frameworks comprising three distinct rhythmic elements: meter, ostinato, and drums. Meter and background ostinato provide complementary recurring cycles—one implicit, the other explicit—that the drummer uses as referents to create shifting contrapuntal configurations. These configurations can be understood in terms of degrees of synchrony between the three elements in the drums/meter/ostinato network, from full three-way convergence to total divergence and including intermediary states where one of the three elements is distinct from the other two. The chapter pays special attention to polymetric phrasing, an effective way for drummers to not only affirm their independence from meter and ostinato but also infuse the solo with playfully complex qualities.