For those who raised an eyebrow at the mangled title: "On performing the folk music that was found in the archives". The article is about ballads that were printed (on broadsheet), distributed and sold on the street in (mostly Northern) England, at a scale the article calls "massive". However, they only contain the lyrics. The music was written for the project, not found in the archives.
We get something like this in Appalachian ballads and other isolated (Anglo)American folk musics recorded in the 20s. Little attention was payed to American folk music until the early students of English ballads discovered 100+ year old tunes (thought dead to oral tradition) in tact due to the isolation of the mountain valleys. They were the most preserved versions of those songs in existence.Their singers had no concept of them being passed down from anywhere but their home but they likely had melodies and rhythms in common with the broadsides of their grandparents homeland.
https://www.loc.gov/collections/songs-of-america/articles-an...
I've noticed a similar thing where blues music fans are unaware a tune they consider "traditional" is actually a version of a published minstrel show tune. It seems pop music doesn't die, we just forget where it came from until it becomes folk music. Then I guess we forget that happened and try and make it up the melodies from scratch.
I believe Cecil Sharp was one of the first to extensively catalogue Appalachian folk music. He'd done the same in England (but was not the first), and was interested in how traditional English folk music had survived in communities of English descent. Olive Dame Campbell put him onto Appalachia when he met her in Boston. Arguably, his bias towards English-origin music meant that he neglected to record and preserve the full range of Appalachian folk. More here: https://en.wikipedia.org/wiki/Cecil_Sharp#In_America
