I'm a bit wary of the term 'Cultural Imperialism' as regards any kind of influence. Surely the term should be 'Cultural Assimilation'
Sub-trees of any musical genre, precisely because of their inherent similarities, can blend quite well: Scottish & North of Ireland traditional music, for example. Some musics may be either technically more interesting, or on a deeper level, hit certain spots within the soul which no academic explanation can ever cover in totality.
The marketing of the 'Product' will always pick up curious devotees, but whatever the base music is, it still stays the same and is played by people because it is theirs, and it moves them.
Music expresses things that words cannot; and if the music is of the people, it will reflect daily life of the Community, and the hills and dales and of the area.
Empathy at least is needed to sucessfully play another's Culture's music. I am reminded here of a John Doyle video clip I saw, some time ago where he was explaining how he arrived at some of the progressions he did. In the 60 sec or so clip, he must have used the word 'Feel' about 20 times, just at those points when a good old verbal explanation was needed for the uninitiated.
I know how he feels. Somethings one can't quite quantify when one language is used to describe another; it ends up as kind of musical anthropomorphism.
Many people do drift to Irish music, but I think the majority of what 'damage' Richard alludes to as been 'done' outside of the Celtic Isles. Remember that Irish, Scottish, and English traditional and Folk have been intertwined for years... (leave the Welsh, Cornish, & Manx out of it for the minute...) I studied and continue to study Renbourn, Carthy, Simpson, Newman, etc., and 'Matty Groves' was well on my repertoire long before 'Little Musgrave' was, for example.
I don't know, Richard. People with no sense of their own musical tradition, perhaps....? Some people just don't see the beauty in their own (Prophet is never accepted..., and all that...)
Music makes me laugh sometimes, with its inherent jocularity. Some of Paddy Canny & P.J. Hayes' compositions have me in stitches on a regular basis. Still after 20 years of learning them, perhaps.
I cannot explain that verbally
Di did il doodilly i dil di, dit il dootilly i til The first 2 bars of 'The Bucks' (key optional, but generally in a major one...)