"borrowing the phrasing of a melodeon when one is playing a fiddle"well it depends how rigid the musician is about it, to copy melodeon phrasing as a dogma is limiting.
THE Hammerd dulcimer is also quite a diffeent instrument it has problems of notes ringing on, like the accordion it has similar limitations,it has also an added problem it is essentially a legato instrument, its opposite is the bowedpsaltery ,which is anonlegato instrument.
The Fiddle is a very versatile instrument in a certain way its closest instrument is the Trombone.
For Morris dancing fiddlers would be advised primarily to atcg the dancers, to slavishly copy melodeon phrasing is much too rigd an approach, of course rythymis important but fiddlers can impart ryhthym and phrasing woithout slavishly copying Melodeons.For example MELODEONS WILL RARELY REVERSE BELLOWS WHEN PLAYING THE SAME NOTE TWICE[ because they do not need to] YET THERE ARE OCCASIONS WHEN A FIDDLER MIGHT THINK IT APPROPRIATE TO REVERSE FIDDLKE BOWING DIRECTIO ON THE SAME NOTE.
An example that springs to my mind is the playing of 4/4 hornpipes where at the end of the first side there are often three stamp beats, a fiddler might[ a matter of taste] change bowing direction to emphasise rythym, most melodeon players would not do so if the note was the same pitch, so we could have a silly scenario wherby a fiddler emulating melodeon bellows direction ends up playing the note less rythmically because he /she is followin a dogmatic copy of melodeon phrasing., that IMO could mean the music becomes less dancey.
Bowing is vitally important in Dance music, and should not be limited by following melodeon phrasing as a dogma