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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.
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Cecil and Sharp
Scholars of ballads are often divided into two camps, the ‘ communalists ’ who, following the line established by the German scholar Johann Gottfried Herder ( 1744 – 1803 ) and the Brothers Grimm, argue that ballads arose by a combined communal effort and did not have a single author, and ‘ individualists ’, following the thinking of English collector Cecil Sharp, who assert that there was a single original author.
In the early 20th century, ECD was revived in England by Cecil Sharp, who also was known for collecting folksongs.
When Cecil Sharp produced his interpretations he was working in the dark, and others have built on ( and sometimes disagreed with ) his work.
* Cecil Sharp
For Scholes, as well as for Cecil Sharp and Béla Bartók, there was a sense of the music of the country as distinct from that of the town.
Cecil Sharp had an influential idea about the process of folk variation: he felt that the competing variants of a traditional song would undergo a process akin to biological natural selection: only those new variants that were the most appealing to ordinary singers would be picked up by others and transmitted onward in time.
Contemporaneously with Child came the Reverend Sabine Baring-Gould, and later and more significantly Cecil Sharp who worked in the early 20th century to preserve a great body of English rural traditional song, music and dance, under the aegis of what became and remains the English Folk Dance and Song Society ( EFDSS ).
Locations in Southern and Central Appalachia visited by the British folklorist Cecil Sharp in 1916 ( blue ), 1917 ( green ), and 1918 ( red ).
For instance, Cecil Sharp campaigned, with some success, to have English traditional songs ( in his own heavily edited and expurgated versions ) to be taught to school children.
The first major revival of English Country Dance, one of the major types of Regency dance, was by Englishman Cecil Sharp in the early 20th century.
Such isolation would draw folklorists such as Cecil Sharp of London to the area in the years following World War I.
Bax was taught at home, but received his first formal musical education at age 16 from Cecil Sharp and others at the Hampstead Conservatoire.
* June 23 – Cecil Sharp, folk song and dance revivalist ( b. 1859 )
The first, led by Cecil Sharp was academic.
According to the notes by Cecil Sharp on a variant of the Ballad of Little Sir Hugh, the story is as follows:
Cecil Sharp and his cohort among the English Folk-Song Society were among the first to take down the lyrics and tunes of shanties directly from the lips of veteran sailors and to publish them more or less faithfully.
Cecil Sharp ’ s English Folk-Chanteys ( 1914 ) was one of the first large collections of shanties made by a non-sailor and according to the methods of folklore.
Somewhere between these perspectives was Cecil Sharp ’ s, whose English Folk-Chanteys ( 1914 ) was published in the same year, and was based on shanties he collected from aged English sailors in Britain.
As described by Cecil Sharp, there are 6 figures in the dance.
Francis James Child's ( 1825 – 96 ) eight volume collection The English and Scottish Popular Ballads ( 1882 – 92 ) became the most influential in defining the repertoire of subsequent performers and Cecil Sharp ( 1859 – 1924 ), founder of the English Folk Dance Society, was probably the most important figure in understanding of the nature of folk song.
Many collectors in the first revival either ignored such songs, or bowdlerized them for publication, as Francis Child and Cecil Sharp did in their collections.
It recovered after the Restoration in 1660 but was in steep decline after agricultural and industrial revolutions by the 19th century, when collectors like Cecil Sharp recorded the practice, particularly from versions of dance he found in the Cotswolds.
Lucy Broadwood and Cecil Sharp collected in Cambridgeshire, as did and Vaughan Williams as well as in Norfolk and Essex from 1905, but most important regional figure was composer Ernest John Moeran, who collected over 150 songs in Norfolk and Suffolk in the 1920s.
Cecil Sharp ’ s interest in the region was largely confined to the south, particularly the Cotswold morris villages of Oxfordshire and Warwickshire, which provided him with an archetype of English ceremonial dance.
These were very different from the styles of dance that collectors like Cecil Sharp had encountered in the Cotswolds and were largely dismissed by him as contaminated by urbanisation, yet they were, and remain, a thriving tradition of music and dance.
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