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It's all about the music, dude! Sit down, relax and listen to some tunes.

You misquote me - I said academicians, not academics. . .

. . . and I was referring to those who pursue their interests within the deep recesses of the academe, where only those who are worthy, those who are acolytes in the service of cryptic knowledge too esoteric for the general public to understand may flourish. Woe be unto you if you go astray from their Delphic pronouncements. Woe be unto you if you dare employ vibrato in 18th-century music! They don't have any good evidence for forbidding it, but they all march in lock-step in pronouncing it forbidden.

Jeez, you can go back to the 50's and see articles by Jacques Barzun warning (in more general terms) of this type of esoteric nonsense, so disconnected from the life of the people.

If you want me to name names, how about if we start with Neal Zaslaw, who in a completely dishonest manner, attempts to completely change the meaning of Geminiani's writing:
it [vibrato] only contributes to make their [i.e., the players' or the instruments'] Sound more agreeable and for this Reason, it [vibrato] should be made use of as often as possible.
Notice, there are no restrictions on Geminiani's statement, and, yet, for no reason at all, Zaslaw would have us believe that Geminiani was referring only to solo playing, not ensemble playing. Like all too many academicians, Zaslaw molds and interprets the evidence to fit the prevailing academically fashionable theory. Disgusting, really. (It also figures that he was at Stanford for awhile IIRC.) It's not the book learnin' that I have any objection to, rather, it's the idea that the book learnin' is OWNED by the academicians, who then reveal the TRUTH to us plebians from their ivory towers.


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