that spring from the creativity of those who are creating and performing it today.

I broadly agree with what you say here - and I love the idea of a Folk Renaissance - but whatever people do, it must remain rooted within the traditional source which remains crucial. I might sing a folk song in the context of 100% free improvisation using bamboo flute designs filched off David Toop circa 1977 (via his Quartz albums of Ritual Flute Music of New Guinea & others) but my reference is always to The Tradition. Apart from anything, in a purely revival context such creativity would be, alas, unthinkable...

And whatever the wellsprings of music, folk remains very music a theorectical construct predicated on a class / cultural condescension that sticks in my craw. And whilst I do grant much of our concept of The Tradition is determined by revival methodology (hence the ongoing bickering over the finer points) all that is as nothing when listening to (say) Percy Grainger's recording of Joseph Taylor singing Brigg Fair circa 1908 at which point all is perfection. This is the mastery I'm talking about - and nothing the revival has to offer can ever better that; it remains the pure and unassailable drop eternally.