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Melanie Plesch has taken me to task in her review of The Rioplatense Guitar, Volume I: The Early Guitar and Its Context in Argentina and Uruguay, which appeared in a recent issue of this journal (vol. 16, no. 2, PP. 242-55). Therefore my intention is to answer some of her questions and to explain where she has misunderstood my text.
Her review betrays an underlying agenda. One senses the passion of her point of view. In her eyes I am an outsider treading on the turf to which she has a personal attachment. I mention this because her viewpoint overshadows her objectivity. I do not find fault with this, however, for so many foreigners have taken advantage of the ...