Jim, I wasn't trying to attack your person -- just pointing out how obvious it was (to me, anyway) that you've either had no classical training or (unfortunately) very bad training. Your remarks clearly demonstrated a lack of knowledge of what's required of classical musicians, how they "make the grade". I wasn't trying to insult you personally!

Interpretation, expression, sensitivity and playing "from the heart", the ability to improvise with flair (and "cover" your mistakes by doing so!), a talent for developing a rapport with your audience, a deep sense of personal style and individuality, a clear understanding of the style of the music -- AS WELL AS correct notation and rhythm -- these are the characteristics that make an exceptional musician in any genre, including classical. I posted the RCM examination marking system to demonstrate that -- and other reputable schools are the same.

On the violin, using a down-stroke with the bow produces a strong beat, and an up-bow produces a weaker one. This is a natural physical thing -- the 'handle' end of the bow is heavier, and if you start the stroke there, it produces a louder, sharper tone than starting at the tip. Also, on a down-stroke you are working WITH gravity (your arm is moving downwards towards the floor), while on an upstroke you are pushing against gravity. This also affects the "weight" -- or strength -- of the tone.

(It's the same principle with the guitar -- a down-stroke with the pick produces the strong beats, up-strokes produce weaker ones. It's the way the instruments and the human body are made, and the way gravity works).

Most Western music is written with a measured pulse (ie. waltzes are in 3 time, the pulse is Strong-weak-weak). The violinists in an orchestra all bow the same way because they are all playing -- (hopefully) -- the same piece, with the same rhythm and the same basic pulse, at the same tempo, on the same instrument. They all use downstrokes for the strong beats, ups for the weaker ones -- because that's how the rhythmic pulse is achieved on a violin, and they've all learned that. And they all have learned to hold the bow in the manner that is physically best for facilitating technical and tonal variety and control. Why do they bother to learn all this? Because the style of music they perform DOES sound best that way -- and if you want to be excellent, it's an absolute requirement.

As to whether or not folk musicians figure this out -- some do and some don't, according to what they need and what they want.

daylia