363:, the organiser of the Espérance Girls' Club, a philanthropic organisation for working-class young women in London, who was seeking suitable dances for them to perform. This initiated a partnership which, though initially cordial and successful, soured over an ideological disagreement, Sharp's insistence on correct traditional practice coming up against Neal's preference for flamboyance and energy. This developed into a power struggle over control of the Morris dance movement, and finally into a public feud. Sharp pursued his interest in dance through a teaching post at the new School of Morris Dancing under the auspices of the South West Polytechnic in Chelsea, set up by the Principal,
705:, which probably influenced his later self-description as a âconservative socialistâ, since his opposition to capitalism went alongside a suspicion of the Industrial Revolution and modernity in general, and a belief in the virtues of rural over urban life. He wrote of his anger about the âinjustice of class distinctionsâ, believed in collectivism over private enterprise, and in later life wrote of his sympathy with striking coal miners. He also believed in democracy over totalitarianism, holding that âany form of collectivist government must also be democratic if it is to function properlyâ, and expressing scepticism about the Bolshevik revolution in Russia.
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neglected to collect fiddle tunes, hymns, recent compositions, and songs of
African-American origin. David Whisnant made similar claims about his selectivity, but praised him for being "serious, industrious and uniformly gracious to and respectful of local people". More recently, Phil Jamison has stated that Sharp "was interested only in English music and dances. He ignored the rest". However, Brian Petersâ detailed analysis of Sharp's collection identified a large number of American-made songs, plus hymns, fiddle tunes, and songs which Sharp himself described as having "negro" origins.
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352:. Although Sharp had already joined the Folk-Song Society in 1901, this was his first experience of folk song in the field, and it set him on a new career path. Between 1904 and 1914 he collected more than 1,600 songs in rural Somerset and over 700 songs from elsewhere in England. He published five volumes of Folk Songs from Somerset and numerous other books, including collections of sea shanties and folk carols, and became a passionate advocate for folk song, giving numerous lectures, and setting out his manifesto in
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argument being presented.â Bearman also disputed Harker's claims of mass bowdlerisation, on grounds firstly of factual misrepresentation and exaggeration, secondly for ignoring constraints on publishing erotic material in the
Edwardian era, and thirdly for omitting the fact that Sharp had been open about his edits and preserved the original texts. In another paper, Bearman disputed statistics from Somerset communities that had been employed by Harker to challenge the notion of a rural peasantry.
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and the chief theoretician of the second folk song revival during the 1960s, affected to repudiate Sharpâs ideas but in fact followed much of his thinking. He rejected Sharpâs claim that folk song could be found only in isolated rural communities as âprimitive romanticismâ, and described his piano arrangements as âfalse and unrepresentativeâ, but praised his ability as a collector, admired his analysis of modal tunes, and used numerous examples from his manuscripts as illustrations.
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mainly uphill. When we reached the cove we found it peopled by n----s ... All our troubles and spent energy for nought." However, unlike other mountain collectors of the time he did take down ballads from two Black singers, one of whom he described in his field notes thus: âAunt Maria is an old coloured woman who was a slave belonging to Mrs
Coleman... she sang very beautifully in a wonderfully musical way and with clear and perfect intonation... rather a nice old lady".
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musical notations himself. His transcriptions, which included melodic variations, were generally accurate, although some nuances were missed. Sharp was meticulous in noting singersâ names, locations and dates, enabling subsequent biographical research. He made many photographic portraits of singers at their homes or workplaces, providing a valuable record of life amongst rural working people in both South-West
England and the Appalachian Mountains.
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600:, often covering many miles on foot over rough terrain, Sharp and Karpeles recorded a treasure trove of folk songs, many of British origin, though in versions quite different from those Sharp had collected in rural England, and some altogether extinct in the old country. In remote log cabins Sharp would notate the tunes by ear, while Karpeles took down the words, and they collected songs from singers including
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time. I find them very easy to get on with, and have no difficulty in making them sing and show their enthusiasm for their songs. I have taken down very nearly one hundred already, and many of these are quite unknown to me and aesthetically of the very highest value. Indeed, it is the greatest discovery I have made since the original one I made in
England sixteen years ago.
745:"'olk song' as mediated by Cecil Sharp, 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."
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class, and established friendships with several singers; after his death Louisa Hooper wrote of his generosity in terms of payments, gifts and outings. He also collected a significant number of songs from
Gypsies. In the Appalachians Sharp and Maud Karpeles similarly used local knowledge and their own initiative to find singers, and again made lasting friendships.
791:, which critiqued the Victorian and Edwardian folk song revival for having invented a culturally anachronistic rural community â "The Folk" - and making unrepresentative collections of songs to support the idea. The book was also critical of Sharp's controlling tendencies, which some of his contemporaries complained about, and interpreted the power struggle with
765:, Harker argued against the oral tradition and maintained that most of what Sharp had termed "folk song" in fact originated from commercially produced print copies. He also claimed that Sharp and Marson had bowdlerised or otherwise tampered with the songs, making "hundreds of alterations, additions and omissions" in their published material.
313:, 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.
716:, an avid suffragist who was imprisoned for her activities; after her release from Holloway she wrote to Sharp stating that she had no wish to quarrel over the matter, and that she did not believe he was a âconfirmed âantiââ. Sharp was a nationalist, and believed that exposure to English folk song would engender a spirit of patriotism.
476:â a community would choose the most pleasing version. This implied that songs had no individual composer, since they had evolved to their present form "as the pebble on the sea shore is rounded and polished by the action of the waves." However, some in the folk song movement, such as Kidson, were sceptical of this theory.
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Sharp's song collecting in the USA has also been the subject of controversy amongst
American scholars of cultural politics. Henry Shapiro held him responsible in part for the perception of Appalachian mountain culture as "Anglo-Saxon", while Benjamin Filene and Daniel Walkowitz claimed that Sharp had
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Sharpâs ideas held sway for half a century after his death, thanks in part to an uncritical and rose-tinted biography co-authored by his disciple Maud
Karpeles, who also enshrined his thinking in the 1954 definition of folk song drawn up by the International Folk Music Council. A. L. Lloyd, a Marxist
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Sharp and
Karpeles noted down a huge number of songs, many of which would otherwise have been lost, and contributed to the continuing tradition of balladry in the Appalachian Mountains. Their collection was described by ballad expert Bertrand Bronson as âwithout question the foremost contribution to
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that existed across
Appalachia, or of the interactions between these groups that had resulted in a dynamic, hybridised folk tradition. For instance, having witnessed in white communities a form of square dancing that he christened the âKentucky Running Setâ, Sharp interpreted it inaccurately as the
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some of their song texts, especially those containing references to sexual intercourse. Given the prudery of the Edwardian era, these could never have been published in full (especially in a school textbook), but Sharp did note such lyrics accurately in his field notebooks, thus preserving them for
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over control of the Morris dance movement in terms of a patriarchal refusal to share power with a woman. Roy Judge's accounts, however, apportion blame more even-handedly and stress their ideological disagreement. There has also been criticism of Sharp's attitude towards the social dance activist
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Sharp, assisted initially by Marson, worked by asking around in rural Somerset communities for people who might sing old songs and located many informants, the sisters Louisa Hooper and Lucy White of Langport amongst the most prolific. Sharp was able to relate well to people of a different social
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Sharp notated songs mostly by ear. He experimented with the new technology of the phonograph, but rejected it on account of a lack of portability and potential intimidatory effect. He had assistance in taking down lyrics from Marson in Somerset, and Karpeles in the Appalachians, while making the
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Cecil Sharp's musical legacy extends into English orchestral music, and the classroom singing experienced by generations of schoolchildren. Many of the most popular musicians of the British Folk Revival from the 1960s to the present day have used songs collected by Sharp in their work. Scores of
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In their search for communities rich in British-origin songs, Sharp and Karpeles avoided German-American communities, and on one occasion turned back from a village when they realised it was an African-American settlement. Using an offensive term then in common usage, Sharp wrote: "We tramped â
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A more critical analysis was offered by C. J. Bearman, who noted numerous statistical discrepancies in Harker's claims that Sharp and Marson's choices of songs for publication were unrepresentative: "It is an interesting variety of mistake which so consistently produces errors in favour of the
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Sharp argued that folk songs expressed Englishness, and it was vital that they should be taught in schools to inculcate a sense of national identity. He also suggested that their melodies should form the basis of a new English movement in art music, in competition with the musical hegemony of
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The people are just English of the late eighteenth or early nineteenth century. They speak English, look English, and their manners are old-fashioned English. Heaps of words and expressions they use habitually in ordinary conversation are obsolete, and have been in England a long
444:, co-written with Baring-Gould and using Sharp's piano arrangements. Sharp was determined that folk song should be at the heart of the curriculum, and fought the Board of Education in 1905 over their list of songs recommended for schools, which included many âNational Songsâ. His colleagues
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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 an operetta
464:, in which he pursued his ideas about folk songs in schools. His main aim was to expound a theory for the development of folk song, based on Darwinian evolution and oral transmission - the passage of songs down the generations by word of mouth. Sharp put forward three principles:
712:. He was not, however, a supporter of the Suffragette movement, although according to his colleague and biographer Maud Karpeles this probably reflected a disapproval of their methods rather than the principle. Despite this, he maintained a friendly relationship with his sister
156:
Sharp collected over four thousand folk songs, both in South-West England and the Southern Appalachian region of the United States. He published an extensive series of songbooks based on his fieldwork, often with piano arrangements, and wrote an influential theoretical work,
701:, a Socialist organisation, in 1900, and in later years became a supporter of the Labour Party. In his younger days he was considered a radical and, according to a teaching colleague, liked to âpull the legs off the Toriesâ. While at Cambridge, Sharp heard the lectures of
783:
Harker's contention that much of the material collected by Sharp and others had its origins in commercial print is now widely accepted, however, and Sharp's narrow definition of what constituted "folk song" has been broadened considerably in more recent scholarship.
576:, who brought with her a portfolio of British-origin ballads she had collected in the Southern Appalachian mountains. The quality of her collection convinced Sharp to make several song collecting expeditions into the remote mountain backcountry with his collaborator
533:, 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
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had taken on "the status of an orthodoxy in some quarters of the British left", and represented "the beginning of critical work" on the early folk music movement - although he stated later that, "this does not mean that Harker got it all right."
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Elizabeth DiSavino, in her 2020 biography of Katherine Jackson French, has claimed that Sharp had neglected to give proper acknowledgement to female and Scottish-diaspora sources, although in fact he mentioned both in his Introduction to
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A more radical Marxist analysis was offered in the 1970s by David Harker, questioning the motivations and methods of folk revivalists, and accusing Sharp of having manipulated his research for ideological reasons. According to Harker:
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English folk songs from the southern Appalachians, collected by Cecil J. Sharp; comprising two hundred and seventy-four songs and ballads with nine hundred and sixty-eight tunes, including thirty-nine tunes contributed by Olive Dame
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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
1381:
560:, Sharp found it difficult to support himself through his customary work in England, and decided to try to earn his living in the United States. He was invited to act as dance consultant for a 1915 New York production of
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soon after he arrived, and had been conductor of the Government House Choral Society and the Cathedral Choral Society. Later he became conductor of the Adelaide Philharmonic, and in 1889 entered into partnership with
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Olive Dame Campbell and her husband John had led Sharp and Karpeles to areas with a high concentration of white people of English or Scots-Irish ancestry, so the collectors had little sense of the cultural mosaic of
761:. Folk song collecting, scholarship, and revival were viewed as forms of appropriation and exploitation by the bourgeoisie of the working class, and Sharp in particular was strongly criticised. An expert on printed
1800:
Gammon, Vic, 'How Good a Music Transcriber was Cecil Sharp?' in: Proceedings of the English Folk Dance and Song Society Folk Song Conference 2013 / eds. Atkinson, D. and Roud, S. Loomis House Press (2015), pp.
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and other old British material led him and the other fieldworkers of his era to misrepresent Appalachian folk music as an overwhelmingly Anglo-Saxon or Celtic tradition, and overlook its cultural diversity.
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In 1902, at a time when state-sponsored mass public schooling was in its infancy, Sharp, then a music teacher, compiled a song book for use in schools. This contained a mixture of patriotic âNational Songsâ
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In 1911 Sharp co-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
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led to a widespread reappraisal of the work of Sharp and his colleagues. Michael Pickering concluded that: "Harker has provided a firm foundation for future work", while Vic Gammon commented that
141:(22 November 1859 â 23 June 1924) was an English collector of folk songs, folk dances and instrumental music, as well as a lecturer, teacher, composer and musician. He was a key figure in the
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the study of British-American folk-songâ, and by Archie Green as a âmonumental contribution⊠an unending scroll in cultural understandingâ. However, it can be argued that a fascination with
337:, an expert player of the Anglo-concertina and a skilled dancer, and asked permission to notate some of the dances. Kimber went on to become Sharp's main source for the notation of Cotswold
240:
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,
371:(1907â1913). It has been argued that Sharp emphasised the Cotswold tradition of Morris dancing at the expense of other regional styles, although he did collect dances in Derbyshire.
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Over the last four decades, Sharp's work has attracted heated debate, with claims and counter-claims regarding selectivity, nationalism, appropriation, bowdlerisation and racism.
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This strong focus on 'Englishness' is evident in Sharp's work, and he has been criticised for failing to recognise that many of the songs he collected were derived from the
580:
during the years 1916â1918, following in the footsteps of Olive Campbell and other collectors such as Lorraine Wyman and Katherine Jackson French. Travelling through the
302:, a preparatory school then in North London. During his seventeen years in the post, he took on a number of other musical jobs. After his marriage in 1893, Sharp became a
333:. He became aware of English folk music in 1899, when he witnessed a display by the Headington Quarry Morris dancers just outside Oxford. He approached their musician
256:
He was very successful as a lecturer but around the middle of 1891 the partnership was dissolved. The school continued under Reimann and in 1898 developed into the
348:, a Christian Socialist he had met in Adelaide, and by then a vicar in Hambridge, Somerset. There he heard the gardener John England sing the traditional song
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in 1985, dismissing the concept of folk song as "intellectual rubble which needs to be shifted so that building can begin again", and attacking scholars from
1648:
1440:
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and went on to give successful lectures and classes across the country on English folk song and especially folk dance. He met the wealthy philanthropist
851:(originally published 1907. London: Simpkin; Novello). This work has been reprinted a number of times. For the most recent (Charles River Books), see
177:
Morris dance teams throughout England, and also abroad, demonstrate the resilience of the revival he played a large part in sustaining. In the US, the
2544:
200:, the eldest son of James Sharp (a slate merchant who was interested in archaeology, architecture, old furniture and music) and his wife, Jane
452:, did not share his view, however, and the committee of the Folk-Song Society voted to approve the Board's list, causing a rift with Sharp.
440:, etc.) and folk material. As his knowledge of folk song grew, he rejected the âNational Songsâ, which were absent from the 1906 collection
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537:, who incorporated many melodies from Sharp's collections into his compositions, as well as a number from his own fieldwork in England.
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Sharp was not the first to research folk songs in England, which had already been studied by late-19th century collectors like
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of Kentucky. Sharp was particularly interested in the tunes, which he found very beautiful and often set in âgapped scalesâ.
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survival of a 17th-century English style, whereas in fact it contained significant African-American and European elements.
867:, With a Description of Eleven Dances as Performed by the Morris-Men of England by Cecil J. Sharp and Herbert C MacIlwaine
244:. He held this position until 1889 when he resigned and gave his whole time to music. He had become assistant organist at
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2002:
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169:. In 1911, he co-founded the English Folk Dance Society, which was later merged with the Folk-Song Society to form the
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In the years between 1907 and the First World War, Sharp became more focussed on traditional dance. In 1905 he met
142:
367:, and stepped up his field collecting efforts, resulting in the publication of his notations over five volumes of
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posterity. A good example of the transformation of a formerly erotic song into one suitable for all audiences is
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Gammon, Vic (2003). "Cecil Sharp and English Folk Music". In Roud, Steve; Upton, Eddie; Taylor, Malcolm (eds.).
1974:
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891:
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178:
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Harvey, Adam (2012). "English Folk Songs and Other Traditional Tunes in the Works of Ralph Vaughan Williams".
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of these songs through music education â might also explain why he considered the song texts less important.
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Letter from Evelyn Sharp to Cecil Sharp, 8 Aug 1913, Vaughan Williams Memorial Library, CJS1/12/18/11/2.
550:
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of North Yorkshire. This led to the revival of both traditions in their home areas, and later elsewhere.
2377:
Appalachia on our Mind: The Southern Mountains and Mountaineers in the American Consciousness, 1870â1920
1832:
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Sharp also developed an interest in sword dancing, and between 1911 and 1913 published three volumes of
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2480:
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Peters, Brian (2021). "Book Review, Katherine Jackson French: Kentucky's Forgotten Ballad Collector".
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Bearman, Christopher (2002). "Cecil Sharp in Somerset: Some Reflections on the Work of David Harker".
289:. Sharp also wrote the music for some nursery rhymes which were sung by the Cathedral Choral Society.
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1404:
713:
1261:
Bearman, Christopher (2000). "Who Were the Folk? The Demography of Cecil Sharp's Somerset Singers".
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was founded with Sharp's support, and dancers there continue to participate in styles he developed.
497:. The immediate goal of Sharp's project â disseminating the distinctive, and hitherto little known
394:
217:
102:
1545:
Schofield, Derek (2004). "Sowing the Seeds: Cecil Sharp and Charles Marson in Somerset in 1903".
1334:
Gregory, David (2009). "Fakesong in an imagined village? A Critique of the Harker-Boyes thesis".
894:, an American folk arts organisation spun off from chapters of Sharp's English Folk Dance Society
310:
278:
213:
2530:
1147:"Myths of 'Merrie Olde England'? Cecil Sharp's Collecting Practice in the Southern Appalachians"
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534:
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Gregory, David. "Fakesong in an Imagined Village? A Critique of the Harker-Boyes Thesis", 2011
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153:, Sharp was the country's "single most important figure in the study of folk song and music."
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English folk songs, collected and arranged with pianoforte accompaniment by Cecil J. Sharp
8:
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Dear Companion: Appalachian Traditional Songs and Singers from the Cecil Sharp Collection
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1238:
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813:
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601:
514:
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Bearman, C. J. (2003). "Percy Grainger, the Phonograph, and the Folk Song Society".
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Francmanis, John (2001). "The Roving Artist: Frank Kidson, Pioneer Song Collector".
1523:"The Oak and the Acorn: Music and Political Values in the Work of Cecil Sharp, 2019"
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Pickering, Michael (1990). "Recent Folk Music Scholarship in England: A Critique".
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1408:. Vol. XXVII, no. 8, 031. South Australia. 10 September 1890. p. 7
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299:
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Gammon, Vic (1986). "Two for the Show. Dave Harker, Politics and Popular Song".
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in Boston, and with her and other colleagues was instrumental in setting up the
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City Folk: English Country Dance and the Politics of the Folk in Modern America
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Hoedowns, Reels, and Frolics: Roots and Branches of Southern Appalachian Dance
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Knevett, Arthur (2018). "Folk Songs for Schools: Cecil Sharp, Patriotism and
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Sharp wrote the following words a few weeks after his arrival in Appalachia:
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Still Growing: Traditional Songs and Singers from the Cecil Sharp Collection
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Still Growing: Traditional Songs and Singers from the Cecil Sharp Collection
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32:
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English Folk Dance Society, afterwards English Folk Dance and Song Society
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Fakesong: The Manufacture of British Folk Song, 1700 to the Present Day
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619:
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415:
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241:
193:
53:
2184:""The Morrow's Uprising: William Morris and the English Folk Revival""
2065:
Gower, Herschel, "How the Scottish Ballads Flourished in America", in
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Yates, Mike. Cecil Sharp in America: Collecting in the Appalachians.
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Campbell, Olive Arnold (Dame); Sharp, Cecil James (10 October 1917).
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The Imagined Village â Culture, ideology and the English Folk Revival
725:
615:
597:
360:
233:
165:, and played an important role in the revival both of the Morris and
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Green, Archie (1979). "A Folklorist's Creed and Folksinger's Gift".
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The Imagined Village: Culture, Ideology and the English Folk Revival
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for health reasons and took interest in spiritualism and theosophy.
2502:
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1811:
1494:
Harker, David (1972). "Cecil Sharp in Somerset: Some Conclusions".
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827:, edited by Maud Karpeles. Oxford: Oxford University Press, 1932.
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Sharp identified with the political left of his day. He joined the
644:
593:
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237:
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Harker, Dave (1972). "Cecil Sharp in Somerset: Some Conclusions".
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Germany, a belief shared by Vaughan Williams and other composers.
472:â songs existed in multiple versions as singers altered them; and
341:, gave demonstrations his lectures, and became a lifelong friend.
1113:. London: English Folk Dance & Song Society. pp. 1â121.
1083:. London: English Folk Dance & Song Society. pp. 1â121.
92:
1023:. London: English Folk Dance & Song Society. pp. 2â22.
460:
After his struggle with the Board of Education, Sharp published
1995:
Katherine Jackson French: Kentucky's Forgotten Ballad Collector
513:(EFDSS). The current London headquarters of the EFDSS is named
197:
80:
57:
2282:
Singing and Dancing Wherever She Goes: A Life of Maud Karpeles
833:, London: Novello (1916). This volume has been reprinted by
2550:
Yates, Mike. "Jumping to Conclusions." "Enthusiasms" No. 36.
468:â individual songs had survived recognisably over centuries;
2541:
Scrapbook on Cecil Sharp's English Folk Dance Society School
1109:
Yates, Mike; Bradtke, Elaine; Taylor, Malcolm, eds. (2017).
204:
Bloyd, who was also a music lover. They named him after the
2402:
Romancing the Folk: Public Memory and American Roots Music
1753:
A Secret Stream: Folk Songs collected from English Gypsies
1643:"Oxford Dictionary of National Biography: Wilkie, Dorette"
1597:
Judge, Roy (1989). "Mary Neal and the Esperence Morris".
1079:
Roud, Steve; Upton, Eddie; Taylor, Malcolm, eds. (2003).
2150:"Rhiannon Giddens Keynote Address, IBMA Conference 2017"
2119:. Berkeley: University of California Press. p. 249.
1621:
Judge, Roy (2002). "Cecil Sharp and Morris, 1906â1909".
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Sharp died of cancer of the upper respiratory system at
2455:
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1207:. Milton Keynes, Philadelphia: Open University Press.
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In August 1903, Sharp visited the home of his friend
253:
as joint director of the Adelaide College of Music.
208:, on whose feast he was born. Sharp was educated at
2427:"English folk songs from the southern Appalachians"
2404:. Chapel Hill: University of North Carolina Press.
2379:. Chapel Hill: University of North Carolina Press.
1969:. Chapel Hill: University of North Carolina Press.
212:, but left at 15 and was privately coached for the
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1433:
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2020:English Folk Songs from the Southern Appalachians
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1777:"Lucy White at Vaughan Williams Memorial Library"
687:English Folk Songs from the Southern Appalachians
127:English Folk Songs from the Southern Appalachians
16:English folklorist and song collector (1859â1924)
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2433:. New York and London : G. P. Putnam's sons
2284:. London: English Folk Dance & Song Society.
1640:Clarke, Gill; Webb, Ida M. (22 September 2005).
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1738:The Sword Dances of Northern England, Parts 1-3
1078:
749:Harker expanded this thesis in the influential
378:, which described the obscure and near-extinct
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1371:, 1988, pp 579â580. Retrieved 17 January 2010.
810:Cecil Sharp's Collection of English Folk Songs
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1997:. Chapel Hill: University Press of Kentucky.
1943:Journal of the Ralph Vaughan Williams Society
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1706:
1704:
1702:
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1652:(online ed.). Oxford University Press.
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1444:(online ed.). Oxford University Press.
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549:A sign commemorating Cecil Sharp's visit to
2515:"Archival material relating to Cecil Sharp"
2221:https://www.vwml.org/record/CJS1/12/18/11/2
1988:
1986:
1960:
1958:
1956:
1869:Baring-Gould, Sabine; Sharp, Cecil (1906).
1564:Sharp, Cecil; Marson, Charles (1904â1906).
1514:
1294:
1292:
1256:
1254:
1237:. Manchester: Manchester University Press.
869:, London: Novello (1907). Reprinted 2010,
285:. The libretto in each case was written by
273:on 9 September 1890, and two light operas,
2523:
2085:
2083:
1906:
1856:A Book of British Song for Home and School
1735:
1639:
1578:
1464:
1416:– via National Library of Australia.
981:
979:
977:
975:
973:
971:
969:
967:
943:The Guinness Encyclopedia of Popular Music
647:rather than the English ballad tradition.
236:on his father's suggestion. He arrived in
31:
2535:International Music Score Library Project
2328:
1710:
1697:
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1614:
1612:
1592:
1590:
1544:
1533:
1380:
787:In 1993 Georgina Boyes produced her book
2279:
2094:. Urbana: University of Illinois Press.
1992:
1983:
1964:
1953:
1680:"Wilkie, Dorette - Cecil Sharp's People"
1520:
1471:EncyclopĂŠdia Britannica (23 June 1924).
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525:Sharp's work coincided with a period of
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1755:. London: Francis Boutle. p. 239.
1649:Oxford Dictionary of National Biography
1441:Oxford Dictionary of National Biography
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309:From 1896 Sharp was Principal of the
1581:Folk Songs from Somerset, Series 4-5
1566:Folk Songs from Somerset, Series 1-3
1420:
1169:
1097:
1050:
849:English Folk Song: Some Conclusions
521:Influence on English classical music
376:The Sword Dances of Northern England
292:
2618:People educated at Uppingham School
2494:English Folk Dance and Song Society
1858:. London: John Murray. p. 183.
1835:. Vaughan Williams Memorial Library
1750:
1346:
1183:English Folk Song: Some Conclusions
1037:
511:English Folk Dance and Song Society
462:English Folk Song: Some Conclusions
455:
354:English Folk Song: Some Conclusions
171:English Folk Dance and Song Society
159:English Folk Song: Some Conclusions
123:English Folk Song: Some Conclusions
13:
2623:19th-century British musicologists
2593:Alumni of Clare College, Cambridge
2047:from the original on 24 April 2000
2026:
2022:. Oxford: Oxford University Press.
1364:Australian Dictionary of Biography
997:. London: Oxford University Press.
692:
14:
2639:
2485:National Portrait Gallery, London
2449:
2299:. London: Lawrence & Wishart.
1715:. New York: New York University.
812:, Oxford University Press, 1974;
803:
483:
161:. He notated examples of English
2506:
2210:. Oxford University Press. p. 22
1833:"Cecil Sharp's Photo Collection"
1382:"Sharp, Cecil James (SHRP879CJ)"
796:Elizabeth Burchenal in the USA.
311:Hampstead Conservatoire of Music
2418:
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2213:
2204:Strangways, A. H. Fox. (1933).
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2069:, Vol. 6, No. 20, Spring 1960,
2059:
2011:
1934:
1919:
1900:
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1392:
1374:
1327:
414:"Sweet Kitty" transcribed from
227:
2628:19th-century English educators
2456:Country Dance and Song Society
1928:One Hundred English Folk Songs
1873:. London: Curwen. p. 183.
1871:English Folk Songs for Schools
1359:Sharp, Cecil James (1859â1924)
1072:
1058:. London: Faber. p. 126.
892:Country Dance and Song Society
570:Country Dance and Song Society
442:English Folk Songs for Schools
179:Country Dance and Song Society
1:
2472:Works by or about Cecil Sharp
923:
863:The Morris Book a History of
540:
258:Elder Conservatorium of Music
232:Sharp decided to emigrate to
187:
112:Folklorist and song collector
2608:English folk-song collectors
2231:Slonimsky, Nicolas. (1938).
1993:DiSavino, Elizabeth (2020).
1666:UK public library membership
1458:UK public library membership
731:
277:, which was produced at the
149:period. According to Roud's
7:
2505:(public domain audiobooks)
1967:All That is Native and Fine
1965:Whisnant, David E. (1983).
1386:A Cambridge Alumni Database
1185:. London: Simpkin; Novello.
885:
551:Hot Springs, North Carolina
317:English folk song and dance
10:
2644:
2603:English conductors (music)
2531:Free scores by Cecil Sharp
2115:Bronson, Bertrand (1969).
1736:Sharp, Cecil (1911â1913).
1711:Walkowitz, Daniel (2010).
1579:Sharp, Cecil (1908â1909).
1388:. University of Cambridge.
382:dances of Northumbria and
2400:Filene, Benjamin (2000).
2280:Pakenham, Simona (2011).
1405:The Express and Telegraph
1313:10.1080/00155870220125426
1275:10.1017/S0018246X99001338
708:Sharp was an opponent of
608:and young members of the
562:A Midsummer Nightâs Dream
398:The Somerset folk singer
116:
108:
98:
88:
65:
39:
30:
23:
2481:Portraits of Cecil Sharp
2350:History Workshop Journal
2037:"Cecil Sharp in America"
1684:cecilsharpspeople.org.uk
1432:Heaney, Michael (2004).
1233:Boyes, Georgina (1993).
918:
719:
556:During the years of the
495:Gently Johnny My Jingalo
281:on 4 December 1890, and
216:, where he rowed in the
103:Clare College, Cambridge
2598:British music educators
2375:Shapiro, Henry (1978).
2182:Bustin, Dillon (1982).
214:University of Cambridge
2490:Cecil Sharp Collection
2235:. W. W. Norton. p. 251
2090:Jamison, Phil (2015).
1886:The National Song Book
1812:"Cecil Sharp's People"
1658:10.1093/ref:odnb/63387
1450:10.1093/ref:odnb/36040
1145:Peters, Brian (2018).
747:
641:
631:
553:
535:Ralph Vaughan Williams
434:The British Grenadiers
419:
418:by Cecil Sharp in 1906
403:
145:in England during the
131:The Country Dance Book
2295:Lloyd, A. L. (1967).
2018:Sharp, Cecil (1932).
1926:Sharp, Cecil (1916).
1854:Sharp, Cecil (1902).
1203:Harker, Dave (1985).
1181:Sharp, Cecil (1907).
987:Fox Strangways, A. H.
743:
665:multiracial Americans
636:
618:
582:Appalachian Mountains
548:
413:
397:
267:Adelaide Garrick Club
206:patron saint of music
167:English country dance
2519:UK National Archives
2499:Works by Cecil Sharp
2463:Works by Cecil Sharp
2362:10.1093/hwj/21.1.147
2297:Folk Song in England
1435:"Sharp, Cecil James"
1056:Folk Song in England
427:Folk song in schools
390:Sharp as fieldworker
246:St Peter's Cathedral
242:Sir Samuel James Way
151:Folk Song in England
2545:UC Irvine Libraries
2259:10.1093/ml/84.3.434
2247:Music & Letters
2152:. 11 February 2018.
2132:Appalachian Journal
2071:The Saltire Society
1473:"Britannica online"
1336:Canadian Folk Music
950:. pp. 2238/9.
948:Guinness Publishing
755:Francis James Child
574:Olive Dame Campbell
331:Sabine Baring-Gould
220:boat and graduated
2613:English socialists
2561:Musical Traditions
2552:Musical Traditions
2331:Folk Music Journal
2312:Folk Music Journal
2165:Folk Music Journal
2117:The Ballad as Song
2041:www.mustrad.org.uk
1909:Folk Music Journal
1890:Folk Music Journal
1751:Dow, Nick (2021).
1740:. London: Novello.
1623:Folk Music Journal
1599:Folk Music Journal
1583:. London: Simpkin.
1568:. London: Simpkin.
1547:Folk Music Journal
1527:Musical Traditions
1496:Folk Music Journal
1263:Historical Journal
1151:Folk Music Journal
946:(First ed.).
835:Dover Publications
710:capital punishment
632:
554:
420:
404:
192:Sharp was born in
2467:Project Gutenberg
2386:978-0-8078-4158-7
1930:. Boston: Ditson.
1664:(Subscription or
1456:(Subscription or
1120:978-0-85418-190-2
1065:978-0-571-30971-9
908:Jane Hicks Gentry
728:on 23 June 1924.
602:Jane Hicks Gentry
515:Cecil Sharp House
488:Sharp and Marson
384:Long Sword dances
350:The Seeds of Love
293:Return to England
265:performed by the
143:folk-song revival
139:Cecil James Sharp
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2476:Internet Archive
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845:and is in print.
456:Sharp's theories
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622:(1872â1949) of
558:First World War
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2583:1859 births
2431:Archive.org
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490:bowdlerised
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283:The Jonquil
271:Albert Hall
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2577:Categories
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924:References
903:Lucy White
763:broadsides
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606:Mary Sands
541:In America
466:Continuity
416:Lucy White
400:Lucy White
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