| Revision as of 03:01, 10 October 2008 editViktor van Niekerk (talk | contribs)443 edits ←Created page with 'Credit where credit is due, Janet. But you are certainly not being honest when you try to claim credit for the correct information that I put here about the 10-stri...' | Revision as of 03:04, 10 October 2008 edit undoViktor van Niekerk (talk | contribs)443 editsNo edit summaryNext edit → | ||
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| Credit where credit is due, Janet. But you are certainly not being honest when you try to claim credit for the correct information that I put here about the 10-string guitar by giving your own misinformative web site as a "reference" for this information. Neither I nor any other informed person would have need of tenstringguitar.com as a point of reference and it is simply being dishonest to claim that your web site was a reference |
Credit where credit is due, Janet. But you are certainly not being honest when you try to claim credit for the correct information that I put here about the 10-string guitar by giving your own misinformative web site as a "reference" for this information. Neither I nor any other informed person would have need of tenstringguitar.com as a point of reference and it is simply being dishonest to claim that your web site was a reference source for this encyclopaedia entry. | ||
| I'm just wondering, what exactly is it that you think could be referenced there? What academic information do you have to offer? aside from all the: | I'm just wondering, what exactly is it that you think could be referenced there? What academic information do you have to offer? aside from all the: | ||
Revision as of 03:04, 10 October 2008
Credit where credit is due, Janet. But you are certainly not being honest when you try to claim credit for the correct information that I put here about the 10-string guitar by giving your own misinformative web site as a "reference" for this information. Neither I nor any other informed person would have need of tenstringguitar.com as a point of reference and it is simply being dishonest to claim that your web site was a reference source for this encyclopaedia entry.
I'm just wondering, what exactly is it that you think could be referenced there? What academic information do you have to offer? aside from all the:
A) Propaganda about Janet Marlow.
B) MY OWN repertoire information based on my own personal research and collection of rare sheet music. (A list which has no business still being on your site.)
C) Your coattail-riding of the name, image and reputation of Narciso Yepes - of whose actual work ethic, performance practice and concept of the 10-string guitar there is not a trace to be found in either your 'Approach Guide' or tenstringguitar.com . This all despite the fact of your split with Yepes, who was NOT your teacher on the 10-string guitar, as you yourself admit to: "Narciso never heard me perform on the ten-string until the 1981 International Guitar Festival in Toronto. ... My path ventured artistically with less contact after 1981 ... all students must separate from their masters to become their own master." (Boston Classical Guitar Society's Newsletter, Vol. 5 no. 1, Sep./Oct. 1997, p. 9)
D) Factually distorted information that does not stand up to academic scrutiny and that, indeed, serves only to misinform readers. For example:
Eg. 1: in 1980, in Soundboard 7(4) p. 154, you reference - you are consciously aware of and have read - a 1978 interview with Yepes by Larry Snitzler in which Yepes unequivocally indicates (as he does numerously elsewhere and as is acoustically verifiable) that there are "eight notes of the chromatic scale" that lack sympathetic resonance on the 6-string guitar (Guitar Player 12, p. 26). Yet you misinform readers by claiming that there are only "four missing resonances" on tenstringguitar.com/tuningsforthe10string.html
Eg. 2: in the preface of your approach guide to playing "the ten-string guitar" you claim that: "In my own process over twenty five years I have developed the tuning" that forms the basis for this method. In fact, this method of tuning had already been fully developed by 1982, not "over twenty five years". Records of this are in the March 1982 edition of Guitar Player magazine (an article by your friend Allan Kozinn). Furthermore, this concept is therein attributed to Oscar Castro-Neves (March 1982: 20), not to your "OWN process".
Eg. 3: In ibid., you claim that 'your' (or, rather, Castro-Neves's) method of 'tuning' (or, rather, stringing) gives the same chromatic resonance as Yepes's. This is acoustically untenable, unless you inhabit your own alternate reality where the rules of physics work differently.