There the musical instruments are not at all

There are two extreme schools of thought expressing their views and opinions about and thereby attempting  to  determine,  the values  and  purity  of  folk  song  while  criticizing  the  present modification in the pattern of folk songs. I  shall  refer  to  the  first  group  of  thought,  who  are  basically  advocates  of  the  pure  and traditional form, as the “purity school?. The supporters of this purists school intend to preserve folk  song  in  a  museum  like  a  foreign  animal  in  an  urban  zoo.  The  contexts  that  engendered various forms of folk song have great differences with present day contexts that lead to techno-centric music and therefore modern music fails to embalm the principle ideological character of folk song. Furthermore, they also believe that the modern trend of techno-centrism may actually harm the purity of folk song.The second school of thought shall be referred to as the “fusion school?. They support the mixing of popular tunes with the original structures of folk songs. The “fusion school? harbour ideas which  seek  to  re-orient  folk  songs  via  adapting  them  to  modern  sounds,  thereby  promoting  creativity as well as contributing towards the preservation of folk song. The  views  of  these  two  popular  schools  of  the  thought  are  polarized  at  two  extremes  in  their views regarding the gradual change of folk song. The “purist school? is skeptical about the modernization  of  folk  song,  afraid  of  the  possibility  of  its  devaluation.  On the other hand, the “fusion school” is optimistic about the rejuvenation of folk song. The process in which the transformation in folk song is taking place is twofold. These are:A. The outer change, andB.The inner change.The outer change is the structural change of the folk song. The necessary discussion follows by points below:                     i. The  meddling  of  diverse  musical  instruments into  a  specific  structure  of  a  folk  song  are known to cause „outer change?,  when the musical instruments are not at all a part of the community to which the folk song belongs or in other words, the musical instruments are alien to the folk song?s type. For example, the use of a distortion guitar in a Jhumur song gives  rise  to  a  different  style  altogether  and,  consequently  the  resulting  music  can  be categorized as anything but Jhumur. ii. Sometimes  alterations  in  textual  or  substantial  content  of  the  folk  songs  which  are  by nature not philosophically similar replacements of the original text, intended to make the songs more meaningful to the new audience, give rise to this foresaid “outer change?. Another similar deviation, in which the contexts involving cast, religion and gender in the original  folk  songs  are  modified  to  enhance  the  political  correctness  of  the  song  to  the modern audience, leads to “outer change? in the folk songs.iii. Performers trained in classical music happen to possess a natural tendency of exercising, or in cases,  “exhibiting? their skills, often end up using extra notes while singing the folk songs. These notes which do not belong to the framework defined for the folk song?s style contribute towards an “outer change? of it. In case of “Inner Changes”, the change happens mainly in the image, philosophy and in the progressive  factor  lying  within  its  tune.  The  inner  change  is  caused  by  the  departure  from tradition,  cultural  interaction,  racial  interaction  and  the  overall  process  of  social  change.  The points that follow are:i. The  images  change  as  a  consequence  of  the  alterations  in  the  environment  and  society. When  the  philosophy  remains  the  same  but  the  image  is  changed,  the  inner  structure  of the folk song is drastically changed. One may refer to this change as devaluation of folk Bhatiyalifolk  song  type  belonging  to  Eastern  Bangladesh,  a notable  philosophy  is  the  personification  of  the  human  body  in  the  form  of  a  boat.  The same  song  in  urban  areas  however,  will  be  converted  to  a  metaphor  that  compares  the same imagery of a body to a bicycle.ii. Philosophical  modifications  are  also  common.  The  supremacy  of  religion  was  the  main aspect  of  many  folk  songs  where  the  supreme  dominance  of  God  was  the  major  theme. But with the passage of  time some protest elements emerged into the minds of common people  and  God  became  the  common  man.  For  example,  in  many Jhumur songs  of Raniganj coalfield, the deity „Krishna? is described as the common worker performing mining activities. This is change in philosophy. If someone wants to express this change as  devaluation,  we cannot  agree  with  it.  The  whole  process  of  evolution  of  folk  song  is characterized  by  change  over  the  passage  of  time  and  the  composer’s  perception changing with the age and its circumstances in which he exists. iii. When a society progresses through the various stages from a rudimentary developmental stage in the forward path of development, it has been observed that, more notes are used in  the  folk  songs.  The  change  in  tune  and  melodic  structure  in  this  course  is  a  natural process. This reflects the dynamic character of folk song, rather than its devaluation.The  deflation  of  several  ethically  positive  virtues  such  as  morality,  spirituality,  honesty, tolerance  etc.  in  the  rural  areas  and  more  prominently  in  the  urban  areas  is  due  to  the  urban complexity and modern opportunistic urbanism. Folk culture has a genuine ground to invigorate the mind. But the urban folk gaining in popularity in urban and rural areas has no such scope for purification  of  the  mind.  It  is  possible  only  if  the  folk  is  kept  restricted  to a  folk  region.  The people of urban and rural areas will come to that place or invite the artists to refresh their mind. But it seems to be nothing but a utopian arrangement.