historical folk music is destined to be a re-enactment or a museum piece. I have no qualms with that situation, it allows historic music to continue to be sung among enthusiasts but to pretend that it allows aperture for new material is completely disingenuous.

This thread follows the usual paths through the usual anal arguments this way and that and - once again - is based almost entirely on songs. Have you all forgotten - yet again - that traditional music contains thousands of wonderful tunes? Furthermore, there are hundreds and hundreds of tunes being written and played at clubs, concerts and sessions where the composers of those tunes - ancient and modern - are known and welcomed. Let's take some old geezers like Carolan. Let's mention some slightly younger composers like James Hill (early 19th c). Let's go all 20th century with Alastair Anderson, Andy Cutting, Tom Anderson, Joan MacDonald Boes - and many others. All writing in the traditional idiom and all co-existing side by side as "traditional" music.

The reason for this is that the tunes have less emotional, sociological and historical "baggage" than songs. They exist as timeless melodies - some with known composers and some with unknown origins - and that fact is irrelevant to us that play them. It's just great music in a centuries-old style.

So get a grip and broaden your horizons, you lot.