THE COLLABORATIVE ARRANGEMENTS OF ALICE PARKER AND ...
THE COLLABORATIVE ARRANGEMENTS OF ALICE PARKER AND ... THE COLLABORATIVE ARRANGEMENTS OF ALICE PARKER AND ...
ACKNOWLEDGEMENTS I wish to thank all who helped me grow through my experience at the University of Alabama: Dr. Ratledge, who improved my conducting gesture, broadened my knowledge of choral literature, and insisted on a high standard of excellence; Dr. Cummins, who instilled a love for research and for the Medieval and Renaissance periods; and Dr. Fader, who taught me how to love the music of Haydn and Mozart and served as chief advisor for this Document. I particularly want to thank Mr. Snead for his help, encouragement, and support. I also want to thank my good friends, Gaines Brake and Wade Griffith, for their counsel and support in Tuscaloosa. And most of all, I want to thank my wife, Karen, who went along on this great and crazy adventure after our children had left the nest. v
CONTENTS ABSTRACT ...........................................................................................................................ii DEDICATION .......................................................................................................................iv ACKNOWLEDGEMENTS ...................................................................................................v TABLE OF CONTENTS .......................................................................................................vi LIST OF TABLES AND CHARTS ......................................................................................viii LIST OF EXCERPTS AND EXAMPLES ............................................................................ix 1. INTRODUCTION .......................................................................................................1 2. AN OVERVIEW OF THE PARKER-SHAW CATALOGUE ...................................4 3. THE HISTORY OF THE COLLABORATION..........................................................7 a. Biography of Robert Shaw .........................................................................................7 b. Biography of Alice Parker .........................................................................................9 c. The Genesis of the Collaboration ...............................................................................10 d. Parker and Shaw’s Working Method .........................................................................11 e. Historical Context ......................................................................................................12 f. Shaw’s Perspective on the Parker-Shaw Arrangements .............................................15 4. THE NATURE OF THE PARKER-SHAW ARRANGEMENTS ..............................17 a. Nineteen Style Characteristics ...................................................................................18 b. Demonstrations of these Characteristics in the Repertoire ........................................23 c. Dr. Parker’s Song Analysis Method Applied to “Sing to the Lord” ..........................54 d. Spreadsheet Comparisons ..........................................................................................57 vi
- Page 1 and 2: THE COLLABORATIVE ARRANGEMENTS OF A
- Page 3 and 4: ABSTRACT This document is a compreh
- Page 5: DEDICATION This Document is dedicat
- 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
ACKNOWLEDGEMENTS<br />
I wish to thank all who helped me grow through my experience at the University of<br />
Alabama: Dr. Ratledge, who improved my conducting gesture, broadened my knowledge of<br />
choral literature, and insisted on a high standard of excellence; Dr. Cummins, who instilled a<br />
love for research and for the Medieval and Renaissance periods; and Dr. Fader, who taught me<br />
how to love the music of Haydn and Mozart and served as chief advisor for this Document. I<br />
particularly want to thank Mr. Snead for his help, encouragement, and support.<br />
I also want to thank my good friends, Gaines Brake and Wade Griffith, for their counsel<br />
and support in Tuscaloosa. And most of all, I want to thank my wife, Karen, who went along on<br />
this great and crazy adventure after our children had left the nest.<br />
v
Change language