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How can [[User:Andrewa|Andrewa]] honestly claim this is saying the same thing? How can [[User:Andrewa|Andrewa]] defend linking to a page that misinforms readers about Yepes's logic behind his invention of the modern 10-string guitar (in breach of [[WP:LINKSTOAVOID]] article 2), while accusing those of us who link to more scholarly information of being on a soap-box and or being in breach of [[WP:LINKSTOAVOID]]? Is this honest scholarship? |
How can [[User:Andrewa|Andrewa]] honestly claim this is saying the same thing? How can [[User:Andrewa|Andrewa]] defend linking to a page that misinforms readers about Yepes's logic behind his invention of the modern 10-string guitar (in breach of [[WP:LINKSTOAVOID]] article 2), while accusing those of us who link to more scholarly information of being on a soap-box and or being in breach of [[WP:LINKSTOAVOID]]? Is this honest scholarship? |
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[[User:Viktor van Niekerk|Viktor van Niekerk]] ([[User talk:Viktor van Niekerk#top|talk]]) 05:17, 17 March 2009 (UTC) |
[[User:Viktor van Niekerk|Viktor van Niekerk]] ([[User talk:Viktor van Niekerk#top|talk]]) 05:17, 17 March 2009 (UTC) |
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== personal attacks == |
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Most editors who have looked at your recent contributions would likely agree that you bring some expertise and knowledge to the topic of <6 string guitars. However, this is an openly edited, volunteer encyclopedia project. As with any publishing project, it has its strengths and weaknesses. Your edits have strayed from a number of policies here on en.Wikipedia, most of these having to do with behaviour, not content. To make things easy, I'm starting only with the policy forbidding [[WP:NPA|personal attacks]]. Please comment only on content and sources, not other editors. If you carry on making negative claims about other editors, I will block you. |
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Moreover, it would be much more helpful if you'd back up your assertions with independent sources. You cannot cite your own expertise here, however, you can draw from your expertise in finding reliable sources to cite. |
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Please understand, I'm not here to argue with you about content, behaviour or anything else, but only to swiftly deal with the worries your behaviour has stirred up on this private website, which is edited by volunteers. Wikipedia isn't for everyone and many, many editors have found they had to adapt themselves to this collaborative project before they were able to settle into long term editing. You won't get what you want by carrying on as you have done. [[User:Gwen Gale|Gwen Gale]] ([[User talk:Gwen Gale|talk]]) 12:47, 17 March 2009 (UTC) |
Revision as of 12:47, 17 March 2009
see: [[1]]
[2] (www.tenstringguitar.INFO)
[3] (www.myspace.com/tenstringguitar)
Viktor van Niekerk is acclaimed as “a conscious artist, with a total understanding of the ten-string guitar as envisioned by Narciso Yepes.” (Fritz Buss, 2007)
e has taught at universities in South Africa and Australia and has been active as a scholar and artist in a number of performative, visual, and literary disciplines. Since the age of fourteen he has concertized exclusively on the Yepes guitar, inspiring dedications and new works from a number of composers, including the four-movement African Sonata by the late David Hönigsberg. He is presently a Doctoral candidate. Moreover, the heirs of Narciso Yepes have invited Van Niekerk to continue his research interests on the guitar and the technical innovations of the late master in the latter’s personal library, Madrid.
He studied performance in South Africa with Fritz Buss, a leading disciple of Yepes whom Yepes considered one of the three best guitar teachers in the world [4], and with Belgian pianist/conductor Bruno-Maria Brys.
The Yepes Guitar, Its Rationale
In the first place, tuned a specific way, the four supplementary strings give the instrument a more balanced sound that the guitar (six-stringed or otherwise) is far from having. In fact, at the moment of playing a note on one string, another begins to vibrate, sustaining and enriching the note by sympathetic resonance or inter-string transmission of the vibration. On the six-string guitar, because of the tuning of its bass strings, this phenomenon is produced basically on four notes: E, A, B, and D. However, when tuned in the standard manner, the Yepes guitar’s extra strings catalyse linearization of this response across all the twelve notes of the chromatic scale, across the entire treble range of the instrument. What this means is that the guitar no longer suffers from a disparity between the musical envelopes of the four rich, sustaining sounds and the other eight drier, more clipped sounds, since all the notes are now more-or-less equally reinforced by tuned resonators. Secondly, the guitarist does not need to content herself with letting the strings vibrate passively, in sympathy. We use them; we play them according to the demands of the music being interpreted. The resonances can be controlled; they can be partially muted, stopped entirely or checked individually. But this choice is enabled by dint of the fact that, in the first place, we have the same response for all the notes. Moreover, the palettes of volume, tonal range, duration of a note and tone-colour are all expanded. Certain interpretative possibilities are now also enabled, that is to say, nuances analogous to those of the piano’s pedal. Thirdly, this instrument opens vast spheres to the guitarist in the realm of early music written for the lute or keyboard. The seventh string (C2), made from a special material, can be lowered as much as B1 or A1. The extended bass range as well as the extended range of open strings now put at the disposal of the guitarist a number of notes required for the performance of lute works by Bach, Weiss, Falckenhagen and others, bass notes that the six-string guitar lacks. The fourth point is that, while the instrument has been invented also for performing the traditional (six-string) guitar repertoire, it has also opened vast new possibilities for transcription and original composition. Some of the 20th century’s greatest composers have written large-scale works specifically for this instrument, including Maurice Ohana, Bruno Maderna, and Leonardo Balada. [www.tenstringguitar.info]
For readers interested in correct information about the Yepes 10-string guitar, refer to [5] (www.tenstringguitar.INFO) and [6] (www.myspace.com/tenstringguitar).Viktor van Niekerk (talk) 06:25, 15 January 2009 (UTC)
Another false accusation made by Andrewa
Those who live in glass houses should not cast stones. Yet again Andrewa falsely accuses [7] me of that which he himself is guilty of.
To the allegations: FALSE, the link tenstringguitar.INFO is neither intended to promote a website nor is it a link to a blog. This site promotes scholarly information about the 10-string guitar as envisioned by Narciso Yepes, information that is not readily available elsewhere on the internet. As such, the link is totally valid. So Andrewa's claims against me and the site are simply dishonest. (Not unexpected.) Along the same vein, Andrewa's claim that a link he posted in this edit [8] does not fail any criteria of "links to be avoided" is also false. According to criterion no. 2 "Any site that misleads the reader by use of factually inaccurate material or unverifiable research" must be avoided on wikipedia. Yet Andrewa supports this site's page [9] knowing fully that it contains proven misinformation.
Compare the claims made there [10] by Janet Marlow with the verifiable statements made by Yepes [11]. Andrewa's claims that these are saying the same thing are clearly either mistaken or dishonest. That is, Marlow claims "there are FOUR missing sympathetic resonances on the six string guitar ... C, Bb, Ab, and Gb" which have less sustain "than the others". While Yepes states that "On the six-string guitar only four notes of the scale have natural resonances or overtones, E, A, B, an D" and that the other EIGHT sympathetic resonances are missing.
Marlow: Four missing resonances: C, Bb, Ab, Gb (thus, eight present resonances: Db, D, Eb, E, F, G, A, B).
Yepes: Eight missing resonances: C, G, Bb, F, Ab, Eb, Gb, Db (thus, four present resonances: D, E, A, B).
How can Andrewa honestly claim this is saying the same thing? How can Andrewa defend linking to a page that misinforms readers about Yepes's logic behind his invention of the modern 10-string guitar (in breach of WP:LINKSTOAVOID article 2), while accusing those of us who link to more scholarly information of being on a soap-box and or being in breach of WP:LINKSTOAVOID? Is this honest scholarship?
Viktor van Niekerk (talk) 05:17, 17 March 2009 (UTC)
personal attacks
Most editors who have looked at your recent contributions would likely agree that you bring some expertise and knowledge to the topic of <6 string guitars. However, this is an openly edited, volunteer encyclopedia project. As with any publishing project, it has its strengths and weaknesses. Your edits have strayed from a number of policies here on en.Wikipedia, most of these having to do with behaviour, not content. To make things easy, I'm starting only with the policy forbidding personal attacks. Please comment only on content and sources, not other editors. If you carry on making negative claims about other editors, I will block you.
Moreover, it would be much more helpful if you'd back up your assertions with independent sources. You cannot cite your own expertise here, however, you can draw from your expertise in finding reliable sources to cite.
Please understand, I'm not here to argue with you about content, behaviour or anything else, but only to swiftly deal with the worries your behaviour has stirred up on this private website, which is edited by volunteers. Wikipedia isn't for everyone and many, many editors have found they had to adapt themselves to this collaborative project before they were able to settle into long term editing. You won't get what you want by carrying on as you have done. Gwen Gale (talk) 12:47, 17 March 2009 (UTC)