Talk:Maud Karpeles

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External links modified (January 2018)

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Deleted unsourced sentences re: work in Appalachia

Have deleted these sentences from article for now:

Sharp returned to the Appalachian Mountains in 1916, this time together with Maud Karpeles, who was then 31. They collected over 1,500 tunes (over 500 different songs and variants) in a period of 46 weeks in isolated communities often reached only by mule. Many of these songs were clearly and importantly related to songs they had encountered in England. This strengthened their conviction that folk songs were subject to a kind of Darwinian selection over generations, and diffusion across the sea. These songs and tunes were published in 1932.

Cielquiparle (talk) 23:01, 12 March 2022 (UTC)[reply]

Deleted external link to Pauline Alderman speech

Deleted external link to this Pauline Alderman speech. Parking here for now (as the background and historical context is useful). It's just not particularly focused on Maud Karpeles.

Pauline Alderman

Cielquiparle (talk) 20:52, 11 March 2022 (UTC)[reply]

Parking additional unsourced content

Unsourced content as reference:

At the end of the war in 1918, neither Mary Neal's Espérance Guild nor Maud's group reformed. Effectively the folk dance movement changed from being working class to being middle class.^{[citation needed]} Sharp arranged for teachers to give classes in country dance and Morris to members of the society, using his books for guidance. Choirs were created to sing folk songs in unison, even though all the singers who had provided the songs, had normally sung solo. After about 1920, Sharp ceased to collect dances - he was then in his 60s - but Karpeles was only 45 in 1920, and continued to collect. She collected clog-Morris dances from the north-west of England, in Royton and Abram. She continued to collect English country dances in the 1920s and 1930s. In 1929 Cecil Sharp House opened, and William Kimber and Maud Karpeles laid the foundation stone. Cielquiparle (talk) 11:30, 13 March 2022 (UTC)[reply]

Elementary research on your part would have confirmed the last sentence.

https://www.efdss.org/learning/resources/beginners-guides/35-english-folk-collectors/2442-efdss-maud-karpeles

"Maud was instrumental in keeping EFDSS going, and in 1929, along with musician and dancer William Kimber, she laid the foundation stone of Cecil Sharp House."

There is a difference between "Unsourced" and "so well known that no citation is necessary". 95.148.255.172 (talk) 03:53, 20 July 2023 (UTC)[reply]

More unsourced content – seems more like historiographical argument re: Sharp that may not actually belong in Karpeles biography but parking here for now:

Today a more interactive theory is widely held. Songs from the music hall can be adopted and reused by country singers. In addition, erotic songs occupy an important place in folk music, but Sharp bowdlerised texts in accordance with the social mores of his time. Cielquiparle (talk) 14:36, 13 March 2022 (UTC)[reply]

Parking source

This overview bio has a lot a vague statements and a few glaring errors, but it may be useful for other reasons later, so parking here for now:

https://www.mun.ca/folklore/munfla/maud-karpeles-fonds/ Cielquiparle (talk) 13:33, 13 March 2022 (UTC)[reply]