
Contents
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4.1 Discovering English folk music 4.1 Discovering English folk music
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4.2 Englishness in English tunes 4.2 Englishness in English tunes
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4.3 ‘Playing around the tune’: variation and improvisation 4.3 ‘Playing around the tune’: variation and improvisation
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4.4 Arrangement 4.4 Arrangement
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4.4.1 Funky chords 4.4.1 Funky chords
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4.4.2 Punchy rhythm 4.4.2 Punchy rhythm
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4.4.3 Polyphony 4.4.3 Polyphony
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4.5 Canon formation 4.5 Canon formation
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4.6 A national instrument? 4.6 A national instrument?
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4.6.1 ‘Fiddle-singing’ 4.6.1 ‘Fiddle-singing’
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4.6.2 The English melodeon 4.6.2 The English melodeon
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4.7 Conclusion 4.7 Conclusion
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Notes Notes
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Cite
Abstract
Acting as a foil to the previous chapter’s emphasis on multiplicity within the English folk scene, Chapter 4 explores the potential for identifying developing stylistic tendencies across the work of high-profile English folk artists. It begins by considering discourse gathered during fieldwork that references a journey of discovery for English folk music’s key protagonists, before looking in more detail at common features that signal Englishness in the English folk repertory. The centrality of singing, the musical nature of the instrumental repertory, and prevailing attitudes towards improvisation, arrangement, and specific instruments (fiddle-singing; melodeon) are all discussed as significant in the articulation of difference between English folk music and neighbouring Celtic traditions. The chapter concludes by briefly considering how the various aspects of the emergent English style serve to construct a musical Englishness that reconciles virtuosity with an inclusive, anti-elitist stance.
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