And the "English" in the title, Volgadon and IB, derives partly from the fact that it does indeed have a long-tailed tradition in England.

The recorder had a long-tailed tradition throughout the whole of Europe, and by implication the European colonies, but not as a folk instrument. This fact Mr Hunt is most keen to stress in his book: Folk instruments with a whistle mouthpiece are to be found in so many parts of the world that one cannot point to a particular one and say 'this is the father of the recorder'. These folk instruments do, however, provide the rough information and experimental material from which a craftsman might, given suitable tools, make a recorder (Hunt, 1962, p. 24) and There can be little doubt that that the earliest extant recorders are craftsman-made art instruments which have left folk elements far behind. (ibid.). He does allow, however, that the name English Flute indicates the possibility of an English origin, and to distinguish it from the German (transverse) flute. Interesting to note that it was known in France as a Flute d'Angleterre a long time before it was known in England as an English Flute - but never as a folk instrument.   

Whatever the case, it's all fascinating stuff, but if you bothered to do your research, WAV, you'd soon realise that it's always more complex (and more interesting) than you might have assumed, and that attaching any sort of emblematic Nationalistic status to anything is just a waste of time. But what are facts to the agenda-driven nationalist but wretched inconveniences to be bent, at last, to his will?