THE COLLABORATIVE ARRANGEMENTS OF ALICE PARKER AND ...

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e. The Melodic Orientation of the Parker-Shaw Library ...............................................58 f. Parker’s Preference for Melodies Comprised of Gapped Scales and Modes .............61 g. Three Observations ....................................................................................................62 5. LEGACY .....................................................................................................................65 a. The Influence of Shaw’s Mastery of Both Classical and Popular Styles ...................66 b. Parker and Shaw Arrangements of Early American Folk Hymns .............................67 c. Summary ....................................................................................................................69 BIBLIOGRAPHY ............................................................................................................71 APPENDICES I. PARKER-SHAW WORKS CATALOGUED BY GENRE .......................................73 II.ALPHABETICAL CATALOGUE OF PUBLISHED PARKER-SHAW ARRANGEMENTS AND EDITIONS..................................................................82 III. ANALYTICAL SPREADSHEETS OF PARKER-SHAW ARRANGEMENTS ...92 IV. SUMMARIES OF DATA FROM THE ANALYTICAL SPREADSHEETS ........109 V. SCALES/MODES OF THE MELODIES, COMPARED BY GENRE ...................116 VI. COPIES OF SELECTED ORIGINAL PARKER-SHAW MANUSCRIPTS .........119 vii
LIST OF TABLES AND CHARTS Table 1: Robert Shaw Chorale Recordings Containing Parker-Shaw Arrangements............4 Chart 1: The Nine Genres of Parker-Shaw Arrangements .....................................................5 Chart 2: Robert Shaw Chorale Carnegie Hall Series, 1952 ...................................................16 Chart 3: Excerpts Demonstrating the Parker-Shaw Stylistic Characteristics ........................23 Chart 4: Analysis of the “Sing to the Lord” ...........................................................................54 Chart 5: Categories for Comparison on the Analytical Spreadsheets ....................................58 Chart 6: Copies of Original Parker-Shaw Manuscripts .........................................................119 viii
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: CONTENTS ABSTRACT .................
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
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. “
Page 83 and 84:
APPENDIX I PARKER-SHAW WORKS CATALO
Page 85 and 86:
16) Carol of the Birds, HL50304960
Page 87 and 88:
87) Darling Nellie Gray, LG969 88)
Page 89 and 90:
150) I Will Arise, LG905 151) Morni
Page 91 and 92:
UNRECORDED PARKER-SHAW ARRANGEMENTS
Page 93 and 94:
6) Angels We Have Heard on High, Ch
Page 95 and 96:
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
Page 119 and 120:
APPENDIX IV SUMMARIES OF DATA FROM
Page 121 and 122:
11 arrangements use 3 or more diffe
Page 123 and 124:
Average number of verses set in eac
Page 125 and 126:
Number of arrangements using solois
Page 127 and 128:
o 2 major hexatonic (no LT in each)
Page 129 and 130:
APPENDIX VI COPIES OF ORIGINAL PARK
Page 131 and 132:
121
Page 133 and 134:
123
Page 135:
125
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