This review of Kearney Guigné's dissertation, link, is quite good, here are some nuggets:

While Peacock’s contribution to Canadian folksong has long been in question, Kearney Guigné argues that his work is more than a highly edited, de-contextualized “song collection.” She contends that Peacock furthered Canadian, and particularly Newfoundland, folksong scholarship in several significant ways....

In the context of these contributions, Kearney Guigné also offers a candid appraisal of problematic aspects of Peacock’s research: his tendency to romanticize rural Newfoundland culture and thus to ignore country and western influences in those musics; his predilection for publishing composite renditions of a folksong; his nonchalance about including descriptive contextual comments; and, his interest in providing artistic renderings of folksongs, issues often questioned by those who differ in their understanding of folksong authenticity and fidelity to recorded field materials.
...
The major value of Kearney Guigné’s work lies in her ability to provide thoroughly researched case studies which highlight issues central to the politics of Canadian folksong scholarship. Using primary source materials, she deftly reveals differences in folksong research agendas among scholars such as Maud Karpeles — an English scholar hunting for remnants of British ballads, Helen Creighton — interested in occupational folksongs in Atlantic Canada, Edith Fowke — a collector with an interest in labour history and accused of collecting “bawdy” songs, and Peacock. Additionally, Kearney Guigné details their varied working relationships with the National Museum, the role of folksong popularizers like Alan Mills, Fowke, Samuel Gesser, and Tom Kines and their radio broadcasts, the policy differences between Marius Barbeau and his successor Carmen Roy at the National Museum, the differences in American and Canadian approaches to folksong scholarship and dissemination, and the influence of Peacock’s publications on those involved in Newfoundland’s 1960s and 1970s east coast folk music revival. In effect, Kearney Guigné offers her reader an invisible listener presence during both congenial and confrontational exchanges amongst prominent folksong scholars and popularizers, a number of them now deceased, in an era in which folksong played a role in emerging national consciousness. Consequently, the book offers not only a case study of Peacock’s research in Newfoundland, but also a perspective on the social networks shaping both Anglo-Canadian folksong research and the mid-20th century Canadian folksong revival.

~ Becky in Oregon