Abstract
David Evans has conceptualized the folk blues tradition as consisting of concentric circles expanding outward from individual practitioners into their local traditions, and thence to the regional traditions, with all such contributions contained finally within the folk blues tradition as a whole. The elements of tradition (repertoire and musical style) are seen as normally traveling in both directions through these circles from one level to the next. It is also possible for material of an especially influential performer to leap across more than one boundary at a time through recordings or personal contact (Evans 1982, 265). This model has been used successfully to describe the blues tradition in its first stages of development and as it continues to exist in the rural South to the present time.
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