THE COLLABORATIVE ARRANGEMENTS OF ALICE PARKER AND ...

This document attempts to provide a comprehensive overview of the Parker-Shaw
collaboration. Chapter 2 lists the albums for which the pieces were created and the genres in
which the arrangers worked, and outlines the history of the publication of the choral
arrangements. It refers the reader to Appendices I and II, which contain song titles and publisher
information. Chapter 3 describes the collaborative relationship between Parker and Shaw, from
its genesis, when Shaw had a need for Parker’s particular gifts, to its end when Shaw left New
York to direct the Atlanta Symphony Orchestra. The working relationship between Shaw and
Parker is investigated, concluding with the observation that it was a modern-day application of
the master craftsman/apprentice relationship. This is followed by a discussion of the historical
context in which the two musicians worked, noting the popularity of choral music in American
culture at the time, as well as the concurrent American folk music revival, which provided an
enthusiastic audience for the kind of music that Parker and Shaw created. The chapter closes
with a look at Shaw’s perspective on the Parker-Shaw catalogue.
Chapter 4 describes the nature of the Parker-Shaw arrangements. Nineteen style
characteristics are demonstrated in excerpts from six different songs. Following this, a detailed
method of song examination developed by Dr. Parker is applied to one of the folk hymns, “Sing
to the Lord.” In order to compare aspects of a broad portion of the entire catalogue, over half of
the Parker-Shaw arrangements are reviewed and their aspects noted in spreadsheets found in
Appendix III. The chapter concludes with further observations about the nature of the music,
primarily its orientation toward melody and counterpoint, and its arrangers’ preference for
working with melodies based on modes and gapped scales rather than those with clearly tonal
implications.
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