True enough, Greg (earlier post). I wasn't sure if you meant traditional material or performance. I suspect that the radio people might not see a signifant distinction between Norma and Harry Cox, except that she's alive and he isn't. She's rather on the cusp, perhaps, coming from a background where traditional music was normal in the family, but having made her name in the revival field. I do see what you mean, though, and I don't disagree. The emphasis on Southern repertoires and styles would be partly down to the people involved, I expect (Ian Anderson for a start). Boka Halat turned out to be hardly different from a previous project, "Urban Folk".

Shirley Collins made an interesting point; the majority of the younger players seem to be learning their material from records made by Revival performers, many of whom recorded drastically-altered forms of songs as found in tradition, in styles that had very little in common with those that had gone before. Essentially, what they are doing is just as much out-of-context as were the orchestral arrangements of Vaughan Williams or George Butterworth. The difference is that Vaughan Williams and Butterworth knew that; several people who have spoken on the programme so far seem to think that the Revival styles of the 1960s and 70s reflect some "ancient" idiom. Perhaps to them it really does seem that long ago!