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.