What the aims of the ITCM are stating is that all the genres are, in fact, Traditional Musics. This is what I'm saying too - that all music is born out of Tradition and Traditional Process, and that, as such, the conceptual 'Folk Music' of the 1954 Definition does not, and cannot, in fact exist as disctinct from any other music. What does exist, however, are a multiplity of idiomatic styles which we might think of as being Folk Musics, not because of how they evolved or came into being, but because of their genre, and, to a certain extent, their context.

How would the ethnomusicologist interpret the Michael Grosvenor Myer or Sedayne performances of Butter and Cheese and All other than in terms of revival conceits by way of the purposes of hobby & recreation? Sam Larner's singing of it is, of course, something very different indeed and this difference is a crucial one. I am not an Ethnomusicologist, but I've absorbed much of the discipline into my thinking over the years on account of both my personal associations and absurdly eclectic musical tastes. Whilst I believe all music is Traditional Music (the term is, of course, tautologous) I do not believe all music to be Folk Music, but I do believe all music can be folk muisic (with no little evidence to support this) in terms of its folklore, usage and context - especially with respect of The Revival (which is where I live too) where Streamin' Willie's folk style makes perfect sense. I've never heard The Imagined Village, but Jim Eldon is a classic example of this approach.

Otherwises I've pointed out before, there is no difference between Popular as used by Child to decribe the ballads in his collection, and Popular as used by record companies to decribe the bulk of what they promote, or Popular as used by the ITCM. Otherwise, where there is Folk, i.e. humanity, there will be Folklore and Tradition - it's something we humans do as naturally as language & all culture depends on it.