Re Captain Birdseye and correctness

Can't argue with the logic that 'good' technique makes for 'better' playing but judgements about what is correct or incorrect -viz
[ supporting the instrument with your arm][[ incorrect bow hold]] - surely depend on what you are trying to do. If you are playing for dancing and calling the steps - its hard to call with a lump of wood under your chin. It's also hard to get the percussive bite you need if you are using long bow strokes - so yes I hold the bow a little up from the end and generally play short strokes - one stroke per quaver. Most Morris traditions (Fieldtown excepted) demand a percussive approach and if you are fighting off massed melodions, subtlety is not realy what is required.
RE physical problems - When I first started I did hold the fiddle under my chin - but screwed my neck up so badly I still suffer from loose upper vertebra and by holding my left arm in the so-called 'correct' classical position, I messed up my elbow too.
The point is that 'fiddling' is different from 'violining' and there is no right nor wrong, no correct nor incorrect. I would also argue that the 'traditional' repertoire largely evolved from the limitations CB refers to. I prefer the simple unadorned style of Jinky Wells or Walter Bulwer because I think they are easier to dance to. I also think this makes the so-called limitations a virtue. As I said before, this style is not meant for listening - its for dancing. Like good Cajun fiddle (Canray Fontenot, Adam Landreneau) or East Anglian players like Harkie Nesling, you would not want sit and listen to it - but its sure good to dance to.