sity, the founder in 1738 of the Society of Musical Sciences there, and from 1743 a teacher at Warsaw, a handbook on figured bass (1739) and some others, with a translation of Fux' Gradus (1742); by Johann Daniel Berlin (d.c. 1775), organist at Copenhagen from 1730 and at Drontheim from 1737, an instruction-book in Danish (1742); by Geminiani (d. 1762), the violinist, practical directions for modulation and accompaniment (1742-55); by Meinrad Spiess (d. 1761), prior of the monastery at Irrsee, a thoughtful, but execrably written Tractatus (1746); and by Charles Henri Blainville (d. 1769), a 'cellist and teacher at Paris, a brief text-book (1746), a plea for a third or 'Hellenic' mode (1751) and a so-called Histoire (1767), which is mostly on theory.
The situation in theory from about 1745 onward is hard to put briefly, since lines of controversy crossed and recrossed. Rameau's system was becoming known and to it new features or new emphases were being added. The chief contributors to the literature, besides Rameau himself, were Sorge of Lobenstein (d. 1778), with an able general treatise (1745-7) and several later works, usually polemic; Joseph Riepel (d. 1782), a widely traveled musician, from 1751 working at Ratisbon, with a series of books (1752-86, the last edited by Schubarth), partly on counterpoint; Jean Adam Serre of Geneva, with two acute critiques (1753, '63); Friedrich Wilhelm Marpurg (d. 1795), a scholar of superior training, from 1746 at Paris and from 1763 lottery-superintendent at Berlin, whose masterly treatises on the fugue (1753-4) and on general composition (1755-8), with other works, were widely influential because of their excellent style and forcible thought; Tartini (d. 1770), the veteran violinist of Padua, with a notable compendium (1754) that strove to carry further the analysis of chords, with some other works; Johann Friedrich Daube (d. 1797), successively at Stuttgart, Augsburg and Vienna, with several text-books (from 1756); Jakob Adlung (d. 1762), in 1727 Buttstett's successor at Erfurt, with two thoughtful works (1758, '68); and Pietro Gianotti (d. 1765), a double-bassist at the Paris Opéra, with a redaction of Rameau's system (1759), Further writers in the succession will be noted under the next period (see sec. 165).
More or less connected with the above were the various manuals or methods for singers and players. Thus vocal music was treated by Michel L'Affilard (d. after 1717), from 1683 in the French Royal Chapel, on sight-singing (1691); by Michel Pignolet de Montéclair (d. 1737) of the Paris Opéra (1700); by Kaspar Calvör of Klausthal (d. 1725), on church music (1702); by Martin Heinrich Fuhrmann (d. after 1740), cantor at Berlin, two text-books (1706, '15); by Jean Le Beuf (d. 1760), abbé at Auxerre, many essays on Plain-Song (from 1725); and by Marpurg (d. 1795), on singing (1763). Methods for the violin were put forth by Montéclair (1711), Geminiani (d. 1762), several short books (from 1740), including rules for guitarists and other players, and Tartini (d. 1770), brief posthumous essays; for the flute (1752) by Quantz of Berlin (d. 1773), including accounts of his improvements in the instrument; rambling writings on the lute (from 1727) by E. G. Baron (d. 1760), also of Berlin; a valuable compendium of the various instruments of the day (1732) by Joseph Friedrich Bernhardt Kaspar Majer, cantor at Hall (Württemberg), which is a historical source as well; and for the clavier (2 parts, 1750, '61) by Marpurg (d. 1795), and the epoch-making treatise (1753-62 and later enlargements) by K. P. E. Bach (d. 1788).
