Bibliography
Maud Karpeles
- "The Lancashire Morris Dance, containing a description of the Royton Morris Dance, collected and edited by Maud Karpeles" (London: Novello & Company) (1930)
- "Twelve Traditional Country Dances" (1931/1956 London: Novello and Co for the English Folk Dance Society)
- "The Abram Morris Dance" (Journal of English Folk Dance and Song Society) (1932)
- "Folk Songs From Newfoundland" (1934)
- "A Report on Visits to the Tristan Da Cunha Islanders" (Journal of English Folk Dance and Song Society) (1962)
- "Cecil Sharp: His Life and Work" (1967)
- "Folk Songs from Newfoundland" (1971 Faber and Faber)
- "An Introduction to English Folk Song" (1973)
Maud Karpeles and Lois Blake (illustrated by Roland A. Beard)
- "Dances of England & Wales" (1950)
A. H. Fox Strangeways and Maud Karpeles
- "Cecil Sharp" (1933 1st ed) (1955 2nd ed) (1967 3rd ed)
Edited by Maud Karpeles
- "English Folk Songs from the Southern Appalachians. Collected by Cecil J. Sharp" (2 volumes, 1932. London: Oxford University Press)
- "Folk Songs of Europe" (1964. New York: Oak Publications)
- "Cecil Sharp's Collection of English Folk Songs Vol 1 & 2" (1974)
- "The Crystal Spring" (1975) (This is a selection from the 2 vols of "English Folk Songs" 1974)
Cecil Sharp
- "English Folk-Song: Some Conclusions" (preface by Maud Karpeles in 2nd ed 1936)
- "English Folk-Song: Some Conclusions" (edited by Maud Karpeles in 3rd ed 1954 and 4th ed 1965)
- "Eighty English Folk Songs from the southern Appalachians collected by Cecil Sharp and Maud Karpeles" (1968 Faber & Faber) (Piano accompaniments by Benjamin Britten)
Cecil Sharp and Maud Karpeles
- "80 Appalachian Folk Songs" (1983)
Kenneth S. Goldstein and Neil V. Rosenberg (editors)
- "Folklore Studies in Honour of Herbert Halpert: a Festschrift" (St John's 1980)
- (contains a chapter by Carole Henderson Carpenter called 'Forty Years Later: Maud Karpeles in Newfoundland')
Dr Pauline Alderman
- "The Journal of the International Congress on Women in Music" (June 1985)
- (contains an article called "Four Generations of Women in Musicology". Maud is classified as being in "The Second Generation".)
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