One of the greatest challenges facing today‟s global age is its transformational and transitional nature where values and norms are under constant change. As such a developing nation like Nigeria is under high pressure of acculturation problem coming mostly from Western nations to which her citizenry absorb more quickly or succumb to. Consequently, contemporary Nigerian society has integrated some of these Western cultural life styles to themselves thus posing serious threat to the survival of some of her traditional values one of which is her folk music. Be that as it may, the practice of traditional folk music is still being vibrantly practiced in contemporary society of Nigeria as indicated by the numerous examples of traditional folk music practitioners used in this study. They include; B.B.C. Lon‟Bworok, Turu in Jos South L.G.A of Plateau State, Bakah Club 100 traditional music band of Makurdi, Benue State, The Jarawan Dilla dance group of Pankshin, The Ekpo Masquerade performance group of Ibibio people of Akwa-Ibom State, The Dundun dance group of the Yoruba people, the Bata dance group of the Yoruba people, the Ezeagu Atilogwu dance group of Enugu State, the Ovedje Ayonuwe dance of music of Urhobo people of Delta State, and Dan -Maraya Jos a minstrel from Sokoto state.. In the light of this, the study wants to find out the integrative and adaptative ability of traditional folk music to the ever dynamic nature of today‟s society. In addition to this, the study want to find out the staying power that has enabled the art of traditional folk music to triumph over these foreign values and cultures flooding the country, most of them coming from Europe, America and Asian worlds. The study begins with the concept of traditional folk music and its functions to society. It also indicates how foreign cultures, Western pop music, globalization, urbanization and foreign religions are a threat to the practice of traditional folk music in Nigeria. The dimension of traditional folk music in Nigerian contemporary society is discussed in chapter two. The study adopts the qualitative approach in analysing information gathered from respondents. The oral interview method which was conducted through the "key informant" and "focus group" enabled the researcher to gather useful information from respondents. Altogether nine traditional folk music practitioners drawn from the major ethnic groups cut across the geo-political zones of the country was used. Chapter three discussed traditional folk music as mass culture. The presentation and analysis of data generated from the respondents are discussed in chapter four. Majority of respondents from each folk music group practitioners used in the study are of the opinion that traditional folk music has survived and is being practiced vibrantly because it is adding value to the socio-economic and socio-political life of contemporary Nigerian society and folk music has being able to adapt itself to the changing situations in contemporary society. This is attained by the new roles and functions it has assumed in today‟s Nigerian society. Therefore the adaptative nature of traditional folk music accounts for it staying power in modern society. Majority of respondents also see the art continuing as long as the owners of the art are alive and will continue to make the art adapt to emerging issues in the society. Few respondents fear therising threat of urbanization, globalization and Western Education among others as possible challengeto the art. Chapter five dwell on the summary, achievement and conclusion where the study suggests that government should as matter of policy direct all state governments in Nigeria to encourage and promote the culture of traditional folk music practice by inviting them during government social functions. This will encourage young stars to embrace the profession. Moreover, schools particularly at the primary and secondary levels should be encouraged to revive the culture of traditional dance and music so as to maintain and retain the culture of traditional folk music in contemporary Nigeria.