▁has ▁been ▁submitted ▁to ▁an ▁evolution ary ▁" process ▁of ▁or al ▁transmission .... ▁the ▁fashion ing ▁and ▁re - f ashion ing ▁of ▁the ▁music ▁by ▁the ▁community ▁that ▁give ▁it ▁its ▁folk ▁character ". ▁ ▁Such ▁definitions ▁depend ▁upon ▁"( c ult ural ) ▁processes ▁rather ▁than ▁abstract ▁musical ▁types ... ", ▁upon ▁" continu ity ▁and ▁or al ▁transmission ... seen ▁as ▁character izing ▁one ▁side ▁of ▁a ▁cultural ▁dich ot omy , ▁the ▁other ▁side ▁of ▁which ▁is ▁found ▁not ▁only ▁in ▁the ▁lower ▁layers ▁of ▁fe ud al , ▁capital ist ▁and ▁some ▁orient al ▁soci eties ▁but ▁also ▁in ▁' prim itive ' ▁soci eties ▁and ▁in ▁parts ▁of ▁' pop ular ▁cult ures ' ". ▁ ▁One ▁widely ▁used ▁definition ▁is ▁simply ▁" F olk ▁music ▁is ▁what ▁the ▁people ▁sing ". ▁ ▁For ▁Sch oles , ▁as ▁well ▁as ▁for ▁Cec il ▁Sh arp ▁and ▁Bé la ▁Bart ók , ▁there ▁was ▁a ▁sense ▁of ▁the ▁music ▁of ▁the ▁country ▁as ▁distinct ▁from ▁that ▁of ▁the ▁town . ▁Fol k ▁music ▁was ▁already , ▁"... seen ▁as ▁the ▁authentic ▁expression ▁of ▁a ▁way ▁of ▁life ▁now ▁past ▁or ▁about ▁to ▁disappear ▁( or ▁in ▁some ▁cases , ▁to ▁be ▁preserved ▁or ▁somehow ▁rev ived )", ▁particularly ▁in ▁" a ▁community ▁un infl uen ced ▁by ▁art ▁music " ▁and ▁by ▁commercial ▁and ▁printed ▁song . ▁Lloyd ▁rejected ▁this ▁in ▁favour ▁of ▁a ▁simple ▁distinction ▁of ▁economic ▁class ▁yet ▁for ▁him ▁true ▁folk ▁music ▁was ,