Abstract

David Harker's criticism of Cecil Sharp's work has been called the "beginning of serious critical work" on the early folk music movement, and it has become an orthodoxy which later commentary has accepted without question, taking its accuracy and the validity of its research base on trust. This article shows that the trust has been misplaced. It uses a fresh, more complete and more rigorous analysis of the Sharp MSS to show that Harker's criticism is inaccurate, innumerate, flawed in its methods, and unjustified in its assumptions. It forces a reassessment both of Sharp's work and of Harker's, and renders untenable many of the assumptions upon which modern interpretations of the early folk music movement in Britain are based.