THE COLLABORATIVE ARRANGEMENTS OF ALICE PARKER AND ...

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particularly known for its rhythmic precision, and those who have sung under Shaw recall the attention he gave it. 15. Frequent use of imitation in a variety of forms; for instance, voice parts might enter with Josquin-like imitative counterpoint, one voice part may imitate another exactly, or a cluster of background voices might echo the words and rhythm of the melody but with different pitches. 16. Frequent use of pedal points and ostinatos. These are particularly apparent in the arrangements of modal melodies, but can also be found in more tonal pieces. “Inverted pedal points” are found in passages where a voice part above the melody holds a note across shifting harmonies. 17. A preference for modality and gapped scales over tonality. Parker preferred to be free from the constraints of the tonal voice leading and chordal relationships inherent in tonality. Working within a modal idiom gives the arranger, she says, great freedom to use devices such as imitation, pedal points, and ostinatos. Whether it is these gapped scales and modes or whether it is her own inspiration that give her that freedom is debatable, but Parker clearly leaned toward melodies of this type. 45 18. General avoidance of the leading tone, even in dominant function. In this same context, Dr. Parker feels there is more elemental power in staying clear of the leading tone, even when working in a tonal idiom. 46 19. A tendency to write more frequently for men’s voices than women’s. A second or third verse, for variety, will be more often given to men’s voices than to women’s. Parker says this stems not only from Shaw’s vast experience with men’s glee clubs, but 45 Parker, email communication with author, 29 Dec. 2011. 46 Ibid. 22
also from the fact that with men’s voices there is a bass line, whereas with women, “there's often that ‘floating in the air’ feeling that comes from no anchor.” 47 Demonstrations of These Characteristics in the Repertoire Six excerpts from the Parker-Shaw catalogue will illustrate the nineteen characteristics named above. These are taken from five of the genres of Parker-Shaw arrangements, and have been chosen because each demonstrates a different style of song within the catalogue. In each case, the excerpt is presented, followed by discussion of the particular characteristics this excerpts demonstrates, and where these are found in the example. Because every Parker-Shaw arrangement manifests the first seven characteristics of the list above, they will not be mentioned, but are assumed to be present. Chart 3: Excerpts Demonstrating the Parker-Shaw Stylistic Characteristics 1. Death Shall Not Destroy—Early American folk hymn 2. Johnny Has Gone for a Soldier—Love song 3. What Shall We Do with the Drunken Sailor—Sea shanty 4. Seeing Nellie Home—Love song/Glee club song 5. I’m Goin’ to Sing—Spiritual 6. Broad Is the Road—Early American folk hymn 47 Parker, email communication with author, 3 Aug. 2011. 23
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 and 12: CHAPTER 1 INTRODUCTION Alice Parker
Page 13 and 14: Chapter 5 discusses the legacy of t
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: opposition to choral music that is
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
Page 65 and 66: Recorded on album: Sing to the Lord
Page 67 and 68: v.4 v.5 v.6 Phrases 3 & 4 T sings h
Page 69 and 70: destination. Dr. Ann Howard Jones,
Page 71 and 72: there is not one instance in the en
Page 73 and 74: touches of imitation, etc. to lend
Page 75 and 76: CHAPTER 5 LEGACY The Parker-Shaw wo
Page 77 and 78: Though theirs were not arrangements
Page 79 and 80: from gapped scales and modes, and t
Page 81 and 82: 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,
Page 101:
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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THE COLLABORATIVE ARRANGEMENTS OF ALICE PARKER AND ...

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