THE COLLABORATIVE ARRANGEMENTS OF ALICE PARKER AND ...
THE COLLABORATIVE ARRANGEMENTS OF ALICE PARKER AND ... THE COLLABORATIVE ARRANGEMENTS OF ALICE PARKER AND ...
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
LIST <strong>OF</strong> TABLES <strong>AND</strong> CHARTS<br />
Table 1: Robert Shaw Chorale Recordings Containing Parker-Shaw Arrangements............4<br />
Chart 1: The Nine Genres of Parker-Shaw Arrangements .....................................................5<br />
Chart 2: Robert Shaw Chorale Carnegie Hall Series, 1952 ...................................................16<br />
Chart 3: Excerpts Demonstrating the Parker-Shaw Stylistic Characteristics ........................23<br />
Chart 4: Analysis of the “Sing to the Lord” ...........................................................................54<br />
Chart 5: Categories for Comparison on the Analytical Spreadsheets ....................................58<br />
Chart 6: Copies of Original Parker-Shaw Manuscripts .........................................................119<br />
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