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Eric Hobsbawn
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Guy Boothby
Guy Newell Boothby (13 October 1867 – 26 February 1905) was an Australian novelist and writer.
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Mary Neal
Mary Neal CBE (5 June 1860–22 June 1944), born Clara Sophia Neal, was an English social worker and collector of English folk dances.
http://wn.com/Mary_Neal -
Maud Karpeles
Maud Karpeles (12 November 1885 - 1 October 1976) was a collector of folksongs and dance teacher.
http://wn.com/Maud_Karpeles -
Olive Dame Campbell
Olive Dame Campbell (1882–1954) was an American folklorist.
http://wn.com/Olive_Dame_Campbell -
William Kimber
William "Merry" Kimber (8 September 1872 – 26 December 1961), was an English concertina player and Morris dancer who played a key role in the twentieth century revival of Morris Dancing, the traditional English folk dancing. He was famous both for his concertina playing and for his fine, upright dancing, such that in his day he was presented in the highest circles of society.
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World War I
World War I was a military conflict centered on Europe that began in the summer of 1914. The fighting ended in late 1918. This conflict involved all of the world's great powers, assembled in two opposing alliances: the Allies (centred around the Triple Entente) and the Central Powers. More than 70 million military personnel, including 60 million Europeans, were mobilized in one of the largest wars in history. More than 9 million combatants were killed, due largely to great technological advances in firepower without corresponding ones in mobility. It was the second deadliest conflict in history.
http://wn.com/World_War_I
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Adelaide () is the capital and most populous city of the Australian state of South Australia, and is the fifth-largest city in Australia. Adelaide has an estimated population of more than 1.28 million. The adjective form of Adelaide used to describe residents or other qualities of the city is "Adelaidean".
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:This article is about the region in the United States. For other uses, see Appalachia (disambiguation).
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{{Infobox country
http://wn.com/Australia -
Camberwell is a district of south London, England, and forms part of the London Borough of Southwark. It is a built-up inner city district located southeast of Charing Cross. To the west it has a boundary with the London Borough of Lambeth.
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England () is a country that is part of the United Kingdom. It shares land borders with Scotland to the north and Wales to the west; the Irish Sea is to the north west, the Celtic Sea to the south west and the North Sea to the east, with the English Channel to the south separating it from continental Europe. Most of England comprises the central and southern part of the island of Great Britain in the North Atlantic. The country also includes over 100 smaller islands such as the Isles of Scilly and the Isle of Wight.
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Headington Quarry is a residential district of Oxford, England, located east of Headington and west of Risinghurst, just inside the Oxford ring road in the east of the city. To the south is Wood Farm. Today the district is also known colloquially as "Quarry". The area, now residential, is considerably uneven due to previous quarrying in the area.
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The Commonwealth of Kentucky () is a state located in the East Central United States of America. As classified by the United States Census Bureau, Kentucky is a Southern state. Kentucky is one of four U.S. states constituted as a commonwealth (the others being Virginia, Pennsylvania, and Massachusetts). Originally a part of Virginia, in 1792 it became the 15th state to join the Union. Kentucky is the 37th largest state in terms of total area, the 36th largest in land area, and ranks 26th in population.
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London () is the capital of England and the United Kingdom, the largest metropolitan area in the United Kingdom and the largest urban zone in the European Union by most measures. London has been a major settlement for two millennia, its history going back to its founding by the Romans, who called it Londinium. London's core, the ancient City of London, largely retains its square-mile mediaeval boundaries. Since at least the 19th century, the name London has also referred to the metropolis developed around this core. The bulk of this conurbation forms the London region and the Greater London administrative area, governed by the elected Mayor of London and the London Assembly.
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Ludgrove School is an independent preparatory boarding school for about 200 boys, aged from seven or eight years to thirteen. It is situated in the civil parish of Wokingham Without, adjoining the town of Wokingham in the English county of Berkshire.
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North Carolina () is a state located on the Atlantic Seaboard in the Southern United States. The state borders South Carolina and Georgia to the south, Tennessee to the west and Virginia to the north. North Carolina contains 100 counties. Its capital is Raleigh, and its largest city is Charlotte. North Carolina is now ranked as one of the top 3 leading States for Green Technology, Bio-Chemical Engineering, Medical Sciences, and Computer Engineering through the long-range research and development programs of Research Triangle Park (RTP), UNC Chapel Hill, and North Carolina State .
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Northumbria or Northhumbria () was a medieval kingdom of the Angles, in what is now Northern England and South-East Scotland, becoming subsequently an earldom in a united Anglo-Saxon kingdom of England. The name reflects the approximate southern limit to the kingdom's territory, the Humber Estuary.
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Oxford () is a city, and the county town of Oxfordshire, in South East England. The city, made prominent by its medieval university, has a population of just under 165,000, with 151,000 living within the district boundary. The rivers Cherwell and Thames run through Oxford and meet south of the city centre. For a distance of some along the river, in the vicinity of Oxford, the Thames is known as The Isis.
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Tennessee () is a U.S. state located in the Southeastern United States. It has a population of 6,214,888, making it the nation's 17th-largest state by population, and covers , making it the 36th-largest by total land area. Tennessee is bordered by Kentucky and Virginia to the north, North Carolina to the east, Georgia, Alabama, and Mississippi to the south, and Arkansas and Missouri to the west. The Appalachian Mountains dominate the eastern part of the state, and the Mississippi River forms the state's western border. Tennessee's capital and second largest city is Nashville, which has a population of 626,144. Memphis is the state's largest city, with a population of 670,902. Nashville has the state's largest metropolitan area, at 1,521,437 people.
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The Commonwealth of Virginia () is a U.S. state on the Atlantic Coast of the Southern United States. Virginia is nicknamed the "Old Dominion" and sometimes the "Mother of Presidents" because it is the birthplace of eight U.S. presidents. The geography and climate of the state are shaped by the Blue Ridge Mountains and the Chesapeake Bay, which provide habitat for much of its flora and fauna. The capital of the Commonwealth is Richmond; Virginia Beach is the most populous city and Fairfax County the most populous political subdivision. The state population is nearly eight million.
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Yorkshire is a historic county of northern England and the largest in the United Kingdom. Because of its great size in comparison to other English counties, functions have been increasingly undertaken over time by its subdivisions, which have also been subject to periodic reform. Throughout these changes, Yorkshire has continued to be recognised as a geographical territory and cultural region. The name is familiar and well understood across the United Kingdom and is in common use in the media and the military, and also features in the titles of current areas of civil administration, such as Yorkshire and the Humber and West Yorkshire.
http://wn.com/Yorkshire
- Appalachia
- Australia
- Bachelor of Arts
- Bertrand Bronson
- bowdlerize
- Camberwell
- Cecil Sharp House
- concertina
- curriculum
- Dover Publications
- England
- Eric Hobsbawn
- Espérance Club
- folk music
- General Books
- Guy Boothby
- Headington Quarry
- Kentucky
- La Folia
- London
- Long Sword dance
- Ludgrove School
- Mary Neal
- Maud Karpeles
- morris dance
- Morris Dancing
- nationalism
- North Carolina
- Northumbria
- Olive Dame Campbell
- Oxford
- pentatonic scale
- Rapper sword
- Romanticism
- Roots revival
- Samuel Way
- Tennessee
- traditional dance
- UNT
- Uppingham School
- Virginia
- William Kimber
- World War I
- Yorkshire
Cecil Sharp
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Album releases
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- Author: bellestar827
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BBC News
- Adelaide
- Appalachia
- Australia
- Bachelor of Arts
- Bertrand Bronson
- bowdlerize
- Camberwell
- Cecil Sharp House
- concertina
- curriculum
- Dover Publications
- England
- Eric Hobsbawn
- Espérance Club
- folk music
- General Books
- Guy Boothby
- Headington Quarry
- Kentucky
- La Folia
- London
- Long Sword dance
- Ludgrove School
- Mary Neal
- Maud Karpeles
- morris dance
- Morris Dancing
- nationalism
- North Carolina
- Northumbria
- Olive Dame Campbell
- Oxford
- pentatonic scale
- Rapper sword
- Romanticism
- Roots revival
- Samuel Way
- Tennessee
- traditional dance
- UNT
- Uppingham School
- Virginia
- William Kimber
- World War I
- Yorkshire
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Early life
Sharp was born in Camberwell, London, the eldest son of James Sharp (a slate merchant who was interested in archaeology, architecture, old furniture and music) and his wife, Jane née Bloyd, was also a music lover. Sharp was educated at Uppingham, but left at 15 and was privately coached for the University of Cambridge, where he rowed in the Clare College boat and graduated B.A. in 1882.
In Australia
Sharp decided to emigrate to Australia on his father's suggestion. He arrived in Adelaide in November 1882 and early in 1883 obtained a position as a clerk in the Commercial Bank of South Australia. He read some law, and in April 1884 became associate to the chief justice, Sir Samuel James Way. He held this position until 1889 when he resigned and gave his whole time to music. He had become assistant organist at St Peter's cathedral soon after he arrived, and had been conductor of the government house choral society and the cathedral choral society. Later on he became conductor of the Adelaide Philharmonic, and in 1889 entered into partnership with I. G. Reimann as joint director of the Adelaide school of music. He was very successful as a lecturer but about the middle of 1891 the partnership was dissolved. The school was continued under Reimann, and in 1898 developed into the Elder conservatorium of music in connexion with the university. Sharp had made many friends and an address with over 300 signatures asked him to continue his work at Adelaide, but he decided to return to England and arrived there in January 1892. During his stay in Adelaide he composed the music for two light operas, Sylvia, which was produced at the Theatre Royal Adelaide, on 4 December 1890, and The Jonquil. The libretto in each case was written by Guy Boothby. He also wrote the music for some nursery rhymes which were sung by the cathedral choral society.
Return to England
In 1892 Sharp returned to England and on 22 August 1893 at East Clevedon, Somerset, he married Constance Dorothea Birch, also a music lover. They had three daughters and a son. Also in 1893 he was taken on as a music teacher by Ludgrove School, a preparatory school then in North London. During his seventeen years in the post, he took on a number of other musical jobs.From 1896 Sharp was Principal of the Hampstead Conservatoire of Music, a half-time post which provided a house. In July 1905 he resigned from this post after a prolonged dispute about payment and his right to take on students for extra tuition. He had to leave the Principal's house, and apart from his position at Ludgrove his income was henceforth derived largely from lecturing and publishing on folk music.
Folk music of England
Sharp taught and composed music. Because music pedagogy of his time originated from Germany and was entirely based on tunes from German folk music, Sharp, as a music teacher, became interested in the vocal and instrumental (dance) folk music of the British Isles, especially the tunes. He felt that speakers of English (and the other languages spoken in Britain and Ireland) ought to become acquainted with the patrimony of melodic expression that had grown up in the various regions there. Sharp became interested in traditional English dance when he saw a group of morris dancers with their concertina player William Kimber at the village of Headington Quarry, just outside of Oxford, at Christmas 1899. At this time, morris dancing was almost extinct, and the interest generated by Sharp's notations kept the tradition alive.The revival of the morris dances started when Mary Neal, the organiser of the Esperance Girls' Club in London, used Sharp's (then unpublished) notations to teach the traditional dances to the club's members in 1905. Their enthusiasm for the dances persuaded Sharp to publish his notations in the form of his Morris Books, starting in 1907.
Between 1911 and 1913 Sharp published a three-volume work, The Sword Dances of Northern England, which described the obscure and near-extinct Rapper sword dance of Northumbria and Long Sword dance of Yorkshire. This led to the revival of both traditions in their home areas, and later elsewhere.
;Song books for teachers and pupils At a time when state-sponsored mass public schooling was in its infancy, Sharp published song books intended for use by teachers and children in the then-being-formulated music curriculum. These song books often included arrangements of songs he had collected with piano accompaniment composed by Sharp himself, arrangements intended for choral singing. Although it has been alleged that, had they heard them, traditional singers (who in England virtually always sang unaccompanied) might well have found Sharp's piano parts distracting, the arrangements with piano accompaniment did help Sharp in his goal of disseminating the sound of English folk melodies to children in schools, thus acquainting them with their national musical heritage.
;Bowdlerisation The schools project also explains Sharp's bowdlerisation of some of the song texts, which, at least among English folk songs, were often full of erotic double entendres, when not outright bawdy and or violent. However, Sharp did accurately note such lyrics in his field notebooks, which, given the prudery of the Victorian era could never have been openly published, thus preserving them for posterity. An example of the transformation of a formerly erotic song into one suitable for all audiences is the well-known "The Keeper."
;English Folk Dance Society, afterwards English Folk Dance and Song Society In 1911 Sharp founded the English Folk Dance Society, which promoted the traditional dances through workshops held nationwide, and which later merged with the Folk Song Society in 1932 to form the English Folk Dance and Song Society (EFDSS). The current London headquarters of the EFDSS is named Cecil Sharp House in his honour.
In America
During the years of the First World War, Sharp found it difficult to support himself through his customary efforts at lecturing and writing, and decided to make an extended visit to the United States. The visit, made with his collaborator Maud Karpeles during the years 1916–1918, was a great success. Large audiences came to hear Sharp lecture about folk music, and Sharp also took the opportunity to do field work on English folk songs that had survived in the more remote regions of southern Appalachia, pursuing a line of research pioneered by Olive Dame Campbell. Travelling through the mountains of Virginia, North Carolina, Kentucky, and Tennessee, Sharp and Karpeles recorded a treasure trove of folk songs, many using the pentatonic scale and many in versions quite different from those Sharp had collected in rural England. Generally, Sharp recorded the tunes, while Karpeles was responsible for the words.Sharp was greatly struck by the dignity, courtesy, and natural grace of the people who welcomed him and Karpeles in the Appalachians, and he defended their values and their way of life in print.
Sharp's work in promoting English folk song dance traditions in the USA is carried on by the Country Dance and Song Society (CDSS).
In the 1970s Cecil Sharp's reputation underwent a steep decline as his work and integrity came under attack by revisionist critics in Britain. In an attempt to discover some of the facts about Cecil Sharp and his career, British folklorist Mike Yates, who had himself originally shared some of these negative views, retraced Sharp's steps in Appalachia, in the process becoming aware of the scope of Sharp's accomplishment. In the introduction the article, "Cecil Sharp in America" (1999) that resulted from his investigations, he wrote:
When I had completed my first draft of the article I found that I had totally revised my ideas about Sharp, and I hope that readers will also come to share in these ideas and opinions. Cecil Sharp is, I believe, the most important English folk song collector of the century. His achievements are truly monumental. [The noted American ballad scholar] Bertrand Bronson once said that Sharp's Appalachian collection was the best regional song collection ever made in America. I hope that by reading this article, people will at long last come to realise just how much Sharp gave of himself in the assembly of his collection.
Influence on English classical music
Sharp's work coincided with a period of nationalism in classical music, the idea being to reinvigorate and give distinctiveness to English classical composition by grounding it in the characteristic melodic patterns and recognisable tone intervals and ornaments of its national folk music. Among the composers who took up this goal was Ralph Vaughan Williams, who carried out his own field work in folk song in Norfolk. The use of folk songs and dance melodies and motifs in classical music to inject vitality and excitement, is of course as old as "La Folia" and Marin Marais' "Bells of St. Genevieve" ("Sonnerie de Ste-Geneviève du Mont-de-Paris"), but the attempt to give music a sense of place was novel to the Historical particularism of late nineteenth century Romanticism.
Recent criticisms and rebuttal
In the later twentieth century, a historian, Dave Harker (see UNT), charged Sharp with having "invented" a tradition, accusing Sharp of having been dishonest in altering some of the songs and in his collection methods. These criticisms were taken up by others who were doubtless in part motivated by an understandable reaction to the previous hagiographical treatment of Sharp.Dave Harker's harsh criticisms of Sharp, however, reflect a Marxist framework that tends to view any and all folk song collecting, scholarship, and attempts at revival as forms of appropriation and exploitation by the bourgeoisie of the working class, whose tastes Harker considers intrinsically at odds with what he terms the "official culture" of the schools. Harker, an expert on printed broadsides, argues against the very existence of an oral tradition. He believes that all of what is termed "folk song" in fact originated from broadsides. He further maintains that it was absurd to claim that late-nineteenth century England possessed a rural culture. In his view the small hamlets of less than 300 people from which Sharp collected were actually centres of the "urban proletariat", whom Sharp had misrepresented as (agrarian) "folk".
In 1972, when the editors of Folk Music Journal first accepted an article by Harker criticising Sharp and his methods, one member of the journal's board, Pat Shaw, expressed scepticism of Harker's statistics and only agreed to publish it on condition that someone would write an accompanying rebuttal. However, the rebuttal never appeared, and Pat Shaw himself died in 1977, so that Harker's allegations went unchallenged for fifteen years. Harker described Sharp's activities this way:
"folk song" as mediated by Cecil Sharp, [is] to be used as "raw material" or "instrument", being extracted from a tiny fraction of the rural proletariat and . . . imposed upon town and country alike for the people’s own good, not in its original form, but, suitably integrated into the Conservatoire curriculum, made the basis of nationalistic sentiments and bourgeois values. The working people of England rejected, and still have to reject, as children, "folk song" as official culture. In fact, of course, they’d rejected it in its original state before Sharp was born, by creating the first generation of music halls, but that story belongs to history, and not to the analysis of myth.
Harker's allegations got considerable traction, and he expanded them in a book, Fakesong (1984). The writings of Harker, however, and by extension of Harker's followers in the U.S. (such as David E. Whisnant, Benjamin Filene, and Robert Christgau, who have backgrounds in political science, American Studies, and journalism, not ethnography) have now themselves in turn come under scrutiny as overly harsh, exaggerated, distorted, and unjust.
In the meantime, Mike Yates, the Folk Music Journal editor who had originally accepted Harker's article for publication in 1972, began to investigate the ethnography of Cecil Sharp for himself, travelling to America in his footsteps to do so.
I realised that, for the sake of accuracy, I had to do more research into Sharp’s Appalachian trips, if I was to fully understand just who Sharp was and exactly what it was that he had done in the mountains. In the end I wrote an article, "Cecil Sharp in America", which remained unpublished for some fifteen years, until it appeared in Musical Traditions in 1999. By the time I had written the article I had come to see Cecil Sharp as something of a giant - a man who, with unbelievable dedication, had almost single-handedly preserved a whole tradition that would otherwise have vanished under the indifference of a rapidly changing world. And yet, strange as it may now seem, I still held to some of Dave Harker’s views concerning Sharp’s English collecting and prose writing. One man, however, was not so trusting and, unlike Pat Shaw, he was prepared to put his thoughts and findings onto paper.This man was C. J. Bearman, who in 2001 completed his Ph.D. thesis, "The English Folk Music Movement 1898-1914". Bearman's two papers, "Who Were the Folk? The Demography of Cecil Sharp’s Somerset Folk Singers" in Historical Journal: 43 (2000):3: 751-75, and "Cecil Sharp in Somerset: Some Reflections on the Work of David Harker" in Folklore 113 (2002): 11 -34), were a devastating deconstruction of Dave Harker’s "orthodoxy", charging Harker with having misrepresenting the data and distorted statistics for ideological reasons. Yates writes:
True, Sharp was lax in asking singers where they learned their songs, but we do know that out of the 311 singers that he met during the period 1904-1909, sixty singers provided provenance for 77 of their songs. Only one of these songs was learned directly from a broadside, while 73 songs came directly from an oral source - parents, grandparents, friends, etc. It could, I suppose, be argued that very few English broadsides were being printed in the first decade of the twentieth century, but most of these singers would have been around at the end of the nineteenth century when broadsides were still being printed.
Does all this nit-picking really matter? Well, yes it does. Because if our foundations are based on false assumptions, then the whole subsequent body of folk song and folklore studies is liable to come tumbling down around us. In the last thirty-odd years writers such as Raymond Williams (who wrote The Country and the City, 1973), Eric Hobsbawn (the editor of The Invention of Tradition, 1983), Ronald Hutton (author of The Stations of the Sun: A History of the Ritual Year in Britain, 1996) and Georgina Boyes (The Imagined Village . . .) have all attacked Sharp, taking Dave Harker as their starting point. And much of what they say is wrong. My own beliefs have always been to the left, and it gives me no great pleasure to see respected left-wing writers coming in for such criticism. But, this criticism does appear to be justified and cannot be pushed under the carpet. There are already others seeking to question Harker and his followers. In a recent review in the Folk Music Journal, Mike Heaney has criticised Georgina Boyes for a recent work (Step Change: New Views on Traditional Dance, 2001), where he says that "Factual errors and misrepresentations abound" (Folk Music Journal 2003 page 369).
C. J. Bearman has made a number of extremely serious allegations against Dave Harker’s methodology. "Factual errors and misrepresentations (also) abound" in Dave Harker’s published works, is what he is clearly saying. Perhaps it is time to follow up Dave Harker’s own comment, given above, about Sharp, but now seemingly more applicable to himself -- it’s the one made in 1972 about the story belonging to history, "and not to the analysis of myth". According to Bearman, it was, after all, Harker, and not Sharp, who was creating the myth, and, in the process, jumping to the wrong conclusions.
Books
Maud Karpeles lived on for many decades after Sharp, and gradually succeeded in converting the collected Sharp manuscript materials into massive, well-organised volumes. These books are now out of print, but can be found in some libraries.
For a sampling of English folk songs as they emerged from Sharp's editorial pen along with his piano accompaniments, see:
Sharp also wrote up his opinions and theories about folk song in an influential volume:
The following is a biography of Cecil Sharp:
For Sharp's description of Morris Dancing see:
Sources
References
Bibliography
External links
Category:1859 births Category:1924 deaths Category:Old Uppinghamians Category:Alumni of Clare College, Cambridge Category:English folk dance Category:English folk music Category:English folk-song collectors
es:Cecil Sharp eo:Cecil SharpThis text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.