>That's a very good idea, Betty. However, aside from doing so on the
>basis of reproductions of existing historical harps and laying out the
>theory of harp construction, there may be some difficulty as some harp
>makers may be reluctant to give details of the construction of their
>own harps which have been developed through their own time, with their
>own effort and research. I know of two harpmakers who were at odds
>for quite a while because they each thought that the other had lifted
>design features from their designs. Arrrrgggghhhh!!!! We're back to
>intellectual property! (I can see it now. Disney takes over the FHJ
>and charges a royalty on all the harps in the world...:-) )
>
>However, while I am a non-harp maker/player, I could help with
>research, editing and writing if there would be a need.
>
>Ed Margerum
>Salem State College, Salem, MA 01970
> emargerum@mecn.mass.edu
>
Dear Ed,
Roland Robinson freely gave and used (with refinements and changes)
harp designs and information when he began his Folk Harp Journal. He
functioned on the theory of *each one, teach one*, shared information
as a basis for his business. It might be this spirit which will stir us
to develop such a book. He also knew that if he taught other harp
makers to make harps, then they would realize that it was much easier
to purchase their strings and hardware from him than to reinvent the
wheel -- that was and is good business!
He had a great influence on all harpmakers in business in USA and
some elsewhere, whether directly or indirectly. Some of these (now
proprietary) ideas, you speak of, may have developed from snatches of
conversations held over the phone or dinner table here in Mt. Laguna!
I personally owe him a debt of gratitude that will never be repaid
directly.
I thank you for your offer of help and hope others will share their
knowledge of harpmaking. What is it? oh, yes, the sincerest form of
flattery is imitation? (O. Wilde).
Betty Truitt