THE COLLABORATIVE ARRANGEMENTS OF ALICE PARKER AND ...

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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. 2
Chapter 5 discusses the legacy of the Parker-Shaw library. The enduring quality of this repertoire is credited to Shaw’s comprehensive grasp of both classical and popular music, and Parker’s mastery of Shaw’s arranging approach and technique; also supremely important were Parker and Shaw’s continual desire to select folk-based music of high quality, to be faithful to the spirit of the melody and text, and to entertain the listener. The document concludes that Parker and Shaw’s greatest contribution to the choral repertoire was their arrangements of early American folk hymns. Though these folk hymns were not originally intended for choral application, the Parker-Shaw arrangements preserve the spirit of the original hymn while making full use of the resources of a four-part chorus, and thus providing the choral world with a significant repertoire. 3
Page 1 and 2: THE COLLABORATIVE ARRANGEMENTS OF A
Page 3 and 4: ABSTRACT This document is a compreh
Page 5 and 6: DEDICATION This Document is dedicat
Page 7 and 8: CONTENTS ABSTRACT .................
Page 9 and 10: LIST OF TABLES AND CHARTS Table 1:
Page 11: CHAPTER 1 INTRODUCTION Alice Parker
Page 15 and 16: standard classical choral repertoir
Page 17 and 18: Biography of Robert Shaw CHAPTER 3
Page 19 and 20: Theodore Thomas Award in recognitio
Page 21 and 22: melodies and texts in the public do
Page 23 and 24: was popular in radio and television
Page 25 and 26: Shaw’s perspective on the legacy
Page 27 and 28: CHAPTER 4 THE NATURE OF THE PARKER-
Page 29 and 30: he did…made the difference betwee
Page 31 and 32: opposition to choral music that is
Page 33 and 34: also from the fact that with men’
Page 37 and 38: Death Shall Not Destroy 1960, Tune
Page 39 and 40: progression is found in rock ‘n
Page 42 and 43: Johnny Has Gone for a Soldier Chora
Page 44: Excerpt 3: What Shall We Do with th
Page 49 and 50: In mm. 69-81, homorhythm is broken
Page 54 and 55: Seeing Nellie Home 1954, TTBB, Tune
Page 56: Excerpt 5: I’m Goin’ to Sing 46
Page 60 and 61: #17 A preference for modality over
Page 63 and 64:
Broad Is the Road 1960, Tune source
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Recorded on album: Sing to the Lord
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v.4 v.5 v.6 Phrases 3 & 4 T sings h
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destination. Dr. Ann Howard Jones,
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there is not one instance in the en
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touches of imitation, etc. to lend
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CHAPTER 5 LEGACY The Parker-Shaw wo
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Though theirs were not arrangements
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from gapped scales and modes, and t
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BIBLIOGRAPHY Baxter, Jeffrey W. “
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APPENDIX I PARKER-SHAW WORKS CATALO
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16) Carol of the Birds, HL50304960
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87) Darling Nellie Gray, LG969 88)
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150) I Will Arise, LG905 151) Morni
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UNRECORDED PARKER-SHAW ARRANGEMENTS
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6) Angels We Have Heard on High, Ch
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59) Fairest Lord Jesus, Choral Arr,
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108) La Tarara, Choral Arr, 1960, T
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158) Psalm 81. To God Our Strength,
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210) What Child Is This, Choral Arr
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101
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103
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105
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107
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APPENDIX IV SUMMARIES OF DATA FROM
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11 arrangements use 3 or more diffe
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Average number of verses set in eac
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Number of arrangements using solois
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o 2 major hexatonic (no LT in each)
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APPENDIX VI COPIES OF ORIGINAL PARK
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121
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123
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125
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