Performing Tradition And Creative Practice Through Instrumental Folk Music In Contemporary England

Using the framework of the theory of gesture, this thesis discusses the ways in which contemporary, professional instrumentalists navigate notions of expectation from within their traditional communities, to demonstrate individual creative practices. Using instrumental folk music from England, with a focus on professional output since 2000 as a case study, and building on my pre-existing knowledge and experience, this research analyses creative practices, which include, but are not limited to, writing contemporary folk tunes, arranging contemporary folk tunes, and editing and arranging pre-existing or traditional folk tunes. These creative practices stem from the concept of a gestural toolbox from which individuals learn the stylistic features enacted in their creative practices. Having identified elements of instrumental folk music that are stylistically unique to England, through the use of interviews, surveys, musical analysis and a commentary composition process, the idea of gesture as a creative toolbox establishes various key themes. These themes include notions of regionalism, nationalism and individualism in style, interactions between change and notions of tradition, the relationship between professionalised folk music and its community, and a discussion of what constitutes both conscious and unconscious creative processes.

The data presented in this thesis contextualises both contemporary English instrumental creative practice, and style, within the various forms of community presented, such as professional communities, forms of regional and/or national communities, digital communities, and pocket communities. This research examines elements of musical style that are unique to contemporary instrumental folk music from England and demonstrates that the contemporary English creative practices that are presented form part of a traditional culture that is based in change.