Academic literature on the topic 'Stewart Copeland'

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

Abstract This chapter turns Christian mystical theology toward the empowering experiences of divine union in Black women’s quotidian lives. It features the womanist novelist and theorist Alice Walker and the Catholic womanist theologian M. Shawn Copeland and puts them into dialogue with other scholars who reflect on intersecting racial, gender, and socioeconomic conditions within African American mystical traditions. It engages with Black studies discourses that offer mystical interpretations of Black “nothingness.” It argues that the mystical conversion stories of nineteenth-century Black female preachers such as Maria Stewart, Zilpha Elaw, Jarena Lee, Sojourner Truth, Rebecca Cox Jackson, and Henriette Delille ought to be included in the Western mystical canon. It demonstrates that mysticism—the union of the divine and the flesh—is a central theme of womanist literature and theology. It highlights the distinctive womanist emphasis on mystical experiences of the body, particularly involving suffering, joy, and freedom. It concludes that the motif of divine darkness in the Christian mystical tradition ought to be rethought in relation to such experiences.