Dear Monica,
I don't usually 'knee-jerk' these things but was truly astonished at
your wild reaction (below) to my calm email yesterday in which I had
carefully tried to avoid our earlier combative exchanges and present a
different (ie non-subjective) approach in a non-confrontational manner
- 'a fresh tack'..
I'll also be interested to see what communications you privately sent
to me that I've leaked in an open public forum in my mailing of
yesterday. As far as I can see, the only intimation to anybody else
that you've privately communicated is my opening phrase in this email
"As you now know"
I have already explained that reading our previous communications has
so far clearly failed to influence each other - but just because I
disagreed with you doesn't mean I didn't read them! In fact yesterday
I raised this very matter and intentionally wrote (see below) "Our
exchanges of 'textual analysis' have clearly failed to persuade each
other of our respective cases and therefore, to make any progress,
another tack is now required: one more forensic perhaps and closer
related to contemporary organological, musicological and source
evidence."
All the quotations I used from you are from your open public mailings
to this forum and are taken verbatim and were not edited - perhaps you
changed your mind subsequently.
Finally, I do think general politeness is important in these exchanges
and thus I'll be interested to read of the "torrent of personal abuse"
directed towards you - other than, naturally, simply fair comment.
regards
Martyn
__
From: "mjlh...@cs.dartmouth.edu"
To: VihuelaList
Cc: Martyn Hodgson
Sent: Monday, 29 January 2018, 20:28
Subject: [VIHUELA] Re: Moravsky MS (CZ Brno D189) - a fresh tack!
Obviously it will take me some time to reply to this message which in
part is a response to a message which I sent to Martyn privately.
It will be all the more difficult because he has clearly not read any
of my messages and has consistently misrepresented everything that I
have said in them.
I will just say at this juncture that he may be entitled to send his
messages to all of the lists if he wishes to but I don't think that he
is entitled to send a torrent of personal abuse to any of them.
Watch this space!
As ever
Monica
Original Message
From: [1]hodgsonmar...@cs.dartmouth.edu
Date: 29/01/2018 17:16
To: "[2]vihuela@cs.dartmouth.edu"<[3]vihuela@cs.dartmouth.edu>
Subj: [VIHUELA] Re: Moravsky MS (CZ Brno D189) - a fresh tack!
- Forwarded Message -
From: Martyn Hodgson <[4]hodgsonmar...@cs.dartmouth.edu>
To: Monica Hall <[5]mjlh...@tiscali.co.uk>; VihuelaList
<[6]vihuela@cs.dartmouth.edu>; Baroque Lute List
<[7]baroque-l...@cs.dartmouth.edu>
Sent: Monday, 29 January 2018, 17:01
Subject: Moravsky MS (CZ Brno D189) - a fresh tack!
Dear Monica,
As you now know, I haven't yet replied to your latest open
mailings since these had both ended by saying that you 'were going
to leave it for now' and I therefore took this as meaning I might
soon
expect something further. Accordingly, not wishing to respond in a
piecemeal and disjointed manner, I deliberately delayed replying and
awaited your further thoughts. However, I shall do so now.
---
Regarding copying things to other lists, just to be quite clear, I
generally copy things to other of Wayne's lists if they're relevant
there. Hence why gallichon/mandora stuff (but usually not guitar)
can find its way onto the lute lists (or, indeed, elsewhere) - it's
not
a fiendish plot of any kind! But on with the motley..
---
Our exchanges of 'textual analysis' have clearly failed to persuade
each other of our respective cases and therefore, to make any
progress, another tack is now required: one more forensic perhaps
and closer related to contemporary organological, musicological and
source evidence.
Firstly though, to summarise our respective positions:
- as I understand it from what you have written, your position is
that the vast majority (about 98%) of the some 124 works for plucked
instruments in this MS are for a six course gytarra and that just
three are for a mandora (according to you a twelve course instrument
with
five fingered courses and seven free basses - you stated that "The
mandora has seven unstopped basses" );
- mine is that the 28 pieces notated with a sixth course are for
mandora and that the remainder requiring just five courses are
principally for gytarra (although, as I was