[girvo]

I think the author did quite well at explaining how Classical music's industry engenders this though: Foision was literally being given awards and prizes based solely on his made-up CV rather than his actual music. Sure that's not inherently unique, but it was convincing enough to me that there are structural problems inherent to how credential-and-"fame" focused the classical industry is, based on the articles arguments.

That said, I think the fraud itself is small, so perhaps the conclusion is too grand; but it's not out of nowhere either, I'm somewhat sympathetic to the arguments made.