THE COLLABORATIVE ARRANGEMENTS OF ALICE PARKER AND ...

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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 in their arrangements of early American folk hymns. Though these folk hymns were originally not intended for choirs, the Parker-Shaw arrangements preserve the spirit of the original hymn while making full use of the resources of a four-part chorus, providing the choral world with a significant genre of excellent repertoire. iii
DEDICATION This Document is dedicated to Dr. Alice Parker, who has given hours of her time and thought, as well as her encouragement, to this project. A brilliant thinker, a passionate advocate for music, a great human being and friend to all, she is a treasure to the choral community, and it has been a privilege to communicate closely with her for these three years. iv
Page 1 and 2: THE COLLABORATIVE ARRANGEMENTS OF A
Page 3: ABSTRACT This document is a compreh
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 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
Page 65 and 66:
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,
Page 97 and 98:
108) La Tarara, Choral Arr, 1960, T
Page 99 and 100:
158) Psalm 81. To God Our Strength,
Page 101:
210) What Child Is This, Choral Arr
Page 111 and 112:
101
Page 113 and 114:
103
Page 115 and 116:
105
Page 117 and 118:
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
Page 133 and 134:
123
Page 135:
125
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