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activities, while also doing field work whenever they could. In
September 1922, Karpeles and Sharp collected Morris dances and folk songs across 45 villages in the Midlands. In 1923, the EFDS was reorganised on a county basis, with 43 branches. Sharp continued to suffer from asthma, bronchitis, and fevers, and relied increasingly on Karpeles to get through his many engagements. In May 1924, Karpeles traveled with Sharp through Torquay, Sheffield, Cardiff, Newport, Bath, Birmingham, Lincoln, Norwich, and Ilkley. Sharp was en route to Newcastle to adjudicate a three-day competition, when he became so ill that Karpeles had to take his place. During their trip back to London, Sharp suffered a seizure. By the third week of June, he was only semiconscious, and died peacefully on 23 June 1924.
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331:. Over the course of these expeditions, they visited 281 singers, often in remote and inaccessible locations. During their visits, Karpeles recorded the words of the songs, while Sharp wrote down the tunes. In the end, they collected 1,612 tunes representing 500 different songs, from 281 singers. They also "discovered" the country dance now called the "running set".
315:, folk dancing activities were put on hold, and Sharp decided to seek work in the United States to support his family. In the summer of 1915, Maud Karpeles accompanied him to the United States for the first time. She was one of three British teachers assisting Sharp at a summer school he was directing in Maine. During this trip, Sharp met with
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Maud
Karpeles became Sharp's literary executor after his death, and fought legal battles on behalf of his estate, concerning the legacy of his collections. She later came into conflict with the EFDSS over the issue of copyright. Critics have held that her assertion of copyright was ironic, given that
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classes five hours a day as members of his teaching staff. At the
Shakespeare Festival that summer, the Folk Dance Club gave performances each week in the Memorial Theatre Gardens. Following a public meeting in December 1911, the Folk Dance Club dissolved to make way for a new national entity, the
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On
Armistice Day, Karpeles and Sharp were in Cleveland, Ohio. One month later, they had canceled all further speaking engagements and headed home to England. From 1919, Karpeles and Sharp were busy reviving the English Folk Dance Society. They traveled extensively, resuming many of their previous
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She continued to edit Sharp's manuscripts and was an energetic organiser of international festivals. Karpeles organised the
International Folk Dance Festival and Conference in London in 1935. The event was a success and helped to raise Karpeles's profile internationally. In 1936, she traveled to
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in 1915, not long after his wife, Constance Sharp, suffered a life-changing illness. Cecil Sharp referred to
Karpeles as "the faithful Maud". On their many travels together, Sharp would introduce her as his "adopted daughter". She would continue to work closely with him until his death in 1924.
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Cecil Sharp's "English Folk Song: Some
Conclusions" was considered to be a classic on the subject and Karpeles added material to the second, third and fourth editions. She never wavered from the original idea of the essential purity of folk song, free from commercialisation or vulgarity.
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In 1950, and again in 1955, she returned to the
Appalachian Mountains (aged 65 and 70). This time she travelled with a heavy reel-to-reel recording machine, and recorded singers for the BBC. Some of the people she met remembered meeting Sharp the first time around. Once the folk singer
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The popularity of the Folk Dance Club grew quickly, as Maud
Karpeles and her dancers started to give more public demonstrations, and Sharp traveled across the country to promote folk dancing. Maud and Helen Karpeles were soon teaching Morris,
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In 1910, the
Karpeles sisters formed an informal Folk Dance Club, together with a group of girls who had been practicing every week at their parents' house. On 3 April 1911, they held a fundraiser for the Invalid Children's Association at
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in London, and had had considerable success. The Karpeles sisters were "instantly entranced" by the style of folk dancing they saw at the festival. Starting in September, they audited Sharp's classes at the School of Morris Dancing in the
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In 1967 she published "Cecil Sharp: His Life and Work". In 1974 she published two substantial volumes: "Cecil Sharp's Collection of English Folk Songs Vol 1 & 2". "The Crystal Spring" (1975) is shorter version of the collection.
183:. Maud's piano skills were useful in teaching music and movement, and after a while, her younger sister Helen started to help as well. Around this time, Maud Karpeles also became a member of the
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After returning to England, Karpeles was a volunteer with the Invalid Children's Aid Association. For three or four days a week, she visited disabled children and their families in
372:. His theory predicted that the emigrants from Scotland and England would have brought folk songs with them, and that they would still be found there, if anyone cared to look.
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in London. The Folk Dance Club roped male relatives to join them in dancing, and gave a performance in front of an audience of 500 people. Cecil Sharp gave a lecture and
555:"Eighty English Folk Songs from the southern Appalachians collected by Cecil Sharp and Maud Karpeles" (1968 Faber & Faber) (Piano accompaniments by Benjamin Britten)
487:"The Lancashire Morris Dance, containing a description of the Royton Morris Dance, collected and edited by Maud Karpeles" (London: Novello & Company) (1930)
342:, who introduced them to numerous key contacts and singers, including Edith Fish, a teacher at a Presbyterian mission school, who was a song collector herself.
107:, in 1885. She was the third of five children. Her father, Joseph Nicolaus Karpeles, was a German immigrant who was born in Hamburg, and naturalised as a
467:" celebrating the heroes of the folk-song revival. The flicker book shows a Morris dance being performed by Cecil Sharp, Maud and Helen Karpeles. This
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in his right elbow. Initially, she wrote his letters in longhand, but quickly learned typewriting and shorthand. In May 1914, Karpeles was involved in
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English Folk Dance Society (EFDS). Helen then became the Honorary Secretary of the EFDS – a role which Maud would take over from 1922 to 1930.
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From 1929 to 1930, Karpeles finally took up the challenge, and spent around 14 weeks collecting songs. In 1934, she published her collection
319:, who shared her collection of 200 ballads she had collected in the Appalachian Mountains, inspiring Sharp to embark on his own expedition.
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and the EFDSS in 2011, and on YouTube. The Vaughan Williams Memorial Library in Cecil Sharp House has her unpublished papers and diaries.
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in 1881. He worked as a tea merchant and stockbroker. Her mother, Emily Karpeles (née Raphael), was born in London. Both her parents were
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Spool can also be seen on the DVD "Here's a Health to the Barley Mow: A Century of Folk Customs and Ancient Rural Games" released by the
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171:, the guild's mission was to teach girls "vigorous happy dances for recreative purposes on educational lines." According to founder
532:"English Folk Songs from the Southern Appalachians. Collected by Cecil J. Sharp" (2 volumes, 1932. London: Oxford University Press)
592:(contains an article called "Four Generations of Women in Musicology". Maud is classified as being in "The Second Generation".)
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Maud Karpeles died in 1976. In 2000, the English Folk Dance and Song Society issued as set of 55 trading cards with a "
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499:"A Report on Visits to the Tristan Da Cunha Islanders" (Journal of English Folk Dance and Song Society) (1962)
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Karpeles was awarded the OBE in 1961, for services to folk music. She received two honorary degrees: one from
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During the Second World War, Karpeles helped refugee musicians and with the Red Cross. In 1962 refugees from
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232:. Their objective at first was to be able to teach the dances to children at the settlement in Canning Town.
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576:(contains a chapter by Carole Henderson Carpenter called 'Forty Years Later: Maud Karpeles in Newfoundland')
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131:, where she learned to play the violin and piano, and studied German. In 1906, she spent six months at the
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Brehony, Kevin J. (February 2003). "A 'Socially Civilising Influence'? Play and the Urban 'Degenerate'".
490:"Twelve Traditional Country Dances" (1931/1956 London: Novello and Co for the English Folk Dance Society)
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The English Folk Dance Society (EFDS) merged with the Folk Song Society (FSS) in 1932 to become the "
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199:"Old English Games and Sports" at Shakespeare Festival in 1909 including maypole and Morris dancing
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1108:"Myths of 'Merrie Olde England'? Cecil Sharp's Collecting Practice in the Southern Appalachians"
1070:"Watching Cecil Sharp at Work: A Study of His Records of Sword Dances Using His Field Notebooks"
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552:"English Folk-Song: Some Conclusions" (edited by Maud Karpeles in 3rd ed 1954 and 4th ed 1965)
541:"The Crystal Spring" (1975) (This is a selection from the 2 vols of "English Folk Songs" 1974)
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to watch dances; the team had been unable to attend the festival the year prior due to costs.
87:, (12 November 1885 – 1 October 1976) was a British collector of folksongs and dance teacher.
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1039:"Resources in the Vaughan Williams Memorial Library: The Maud Karpeles Manuscript Collection"
398:. Kennedy would later credit Karpeles for ensuring the EFDSS would survive during this time.
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390:(EFDSS). The EFDSS elected Karpeles to its Board of Artistic Control in 1932, together with
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Between 1916 and 1918, Karpeles assisted Sharp in collecting Anglo-American songs in the
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Sharp died in 1924, but just beforehand, he had expressed a wish to search for songs in
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1315:"Vaughan Williams Memorial Library – Welcome to the Vaughan Williams Memorial Library"
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950:"Maud Karpeles, Newfoundland, and the Crisis of the Folksong Revival, 1924–1935"
493:"The Abram Morris Dance" (Journal of English Folk Dance and Song Society) (1932)
571:"Folklore Studies in Honour of Herbert Halpert: a Festschrift" (St John's 1980)
549:"English Folk-Song: Some Conclusions" (preface by Maud Karpeles in 2nd ed 1936)
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Mattie Kay sang. The event was well received and raised an impressive ÂŁ60.
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587:"The Journal of the International Congress on Women in Music" (June 1985)
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was discovered in Gower, Wales, Karpeles made sure that he was recorded.
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In May 1909, Maud and Helen Karpeles went to the Shakespeare Festival in
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538:"Cecil Sharp's Collection of English Folk Songs Vol 1 & 2" (1974)
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arrived in Britain. Karpeles visited them and recorded their dances.
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1225:
The Imagined Village: Culture, ideology and the English Folk Revival
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207:, where folk dancing competitions were being held. There, they met
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697:"Maud Karpeles & the birth of the English Folk Dance Society"
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The Folk Handbook: Working with Songs from the English Tradition
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Maud Karpeles and Lois Blake (illustrated by Roland A. Beard)
123:, when she was about ten. Like her sisters, Karpeles went to
733:"Beginners' Guides: English Folk Collectors – Maud Karpeles"
211:, who was an adjudicator at the competition, together with
1227:. London: No Masters Cooperative Limited. pp. 50–54.
535:"Folk Songs of Europe" (1964. New York: Oak Publications)
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Once a week, Karpeles volunteered at the Mansfield House
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Karpeles lived with the Sharp family when they moved to
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In 1913, Maud Karpeles started working for Sharp as his
524:"Cecil Sharp" (1933 1st ed) (1955 2nd ed) (1967 3rd ed)
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in Berlin, taking piano lessons and going to concerts.
759:"Exploring social action: Grace Kimmins and play work"
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Kenneth S. Goldstein and Neil V. Rosenberg (editors)
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From July to September 1916, they spent nine weeks in
179:" would help to counteract the negative influences of
505:"Folk Songs from Newfoundland" (1971 Faber and Faber)
960:(2): 151 – via Centre for Digital Scholarship.
338:. At first, Sharp and Karpeles were accompanied by
360:the songs had been shared freely by individuals.
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1188:Yearbook of the International Folk Music Council
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508:"An Introduction to English Folk Song" (1973)
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215:. Sharp had been working with Neal and the
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977:. Rowman & Littlefield. p. 56.
520:A. H. Fox Strangeways and Maud Karpeles
223:and folk songs to girls employed in the
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502:"Cecil Sharp: His Life and Work" (1967)
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516:"Dances of England & Wales" (1950)
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563:"80 Appalachian Folk Songs" (1983)
451:in Quebec (1961) and one from the
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95:Maud Pauline Karpeles was born at
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1274:"Folk Songs From Newfoundland,
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559:Cecil Sharp and Maud Karpeles
336:Madison County, North Carolina
329:Southern Appalachian Mountains
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908:Bronson, Bertrand H. (1977).
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377:Folk Songs from Newfoundland.
230:Chelsea Polytechnic Institute
1373:English folk-song collectors
1276:Faber and Faber, London 1971
1144:Rhodes, Willard (May 1977).
346:Post-war projects in England
167:. Started by workers at the
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1393:British women musicologists
1184:"Maud Karpeles (1885–1976)"
910:"Maud Karpeles (1886–1976)"
812:Education Research Complete
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1146:"Maud Karpeles, 1885–1976"
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241:English Folk Dance Society
1201:10.1017/S0316608200003436
1182:Wachsmann, Klaus (1976).
825:Sutcliffe, David (2019).
664:Sutcliffe, David (2019).
364:Fieldwork in Newfoundland
289:A Midsummer Night's Dream
285:Harley Granville-Barker's
175:, songs and dances from "
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1249:"Department of Folklore"
1223:Boyes, Georgina (2010).
1037:Atkinson, David (2001).
528:Edited by Maud Karpeles
236:Collaboration with Sharp
91:Early life and education
948:Gregory, David (2000).
113:Jewish but nonreligious
1106:Peters, Brian (2018).
971:Morrish, John (2007).
800:10.1080/00309230307453
473:British Film Institute
396:Ralph Vaughan Williams
323:Appalachian folk songs
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191:Study with Cecil Sharp
115:. Her family moved to
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1068:Cawte, E. C. (2003).
788:Paedagogica Historica
311:With the outbreak of
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169:Bermondsey Settlement
831:Cecil Sharp's People
695:Gosling, Ju (2010).
670:Cecil Sharp's People
133:Hochschule fĂĽr Musik
608:Women in musicology
317:Olive Dame Campbell
205:Stratford-upon-Avon
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271:Assistant to Sharp
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117:Westbourne Terrace
1378:Appalachian music
1319:Library.efdss.org
1234:978-0-9566227-0-9
984:978-1-4768-5401-4
827:"Karpeles, Helen"
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603:Jane Hicks Gentry
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