Philibert Coquéau (d. 1794) and Pierre Louis Ginguené (d. 1816), and, in his favor, François Arnaud (d. 1784), Jean Baptiste Antoine Suard (d. 1817) and Gaspar Michel Leblond (d. 1809)—the dates of their writing being 1777-83. Other students of Gluck's music were Friedrich Just Riedel (d. 1785), and Karl Spazier (d. 1805), the one in 1775, the other in 1795.
Among general critiques rather notable are those of Reichardt (d. 1814), the great song-writer, especially his Briefe (from 1774); and the autobiography of Karl Spazier (d. 1805), professor at Giessen (1792-6), who also wrote on church music. Some of Reichardt's observations were attacked (1789) by Johann Karl Friedrich Rellstab (d. 1813), a Berlin publisher.
Musical æsthetics now begins to take shape as a branch of a general theory of the fine arts. A prominent writer was Johann Georg Sulzer (d. 1779), professor at Berlin (works from 1757), in whose encyclopædic Theorie der schönen Künste (1772-4, much extended after 1792 by other editors) the musical articles were mainly supplied by J. A. P. Schulz (d. 1800), at first with the help of Kirnberger. Somewhat similar works were undertaken by Johann August Eberhard (d. 1809), professor at Halle (1783, 1803-5); by Christian Friedrich Michaelis (d. 1834), teacher at Leipsic (1795-1800, and later); and by the erratic Daniel Schubart (d. 1791) of Stuttgart (1806, edited by his son). The relations of poetry and music were variously discussed by John Brown (d. 1766) in 1763; by the Marquis de Chastellux (d. 1788) in 1765; and by Michel Paul Gui de Chabanon (d. 1792) in 1779—all these works being translated more or less. Still further writers were Karl Ludwig Junker (d. 1797) on music in general (1777, '86); Johann Jakob Engel (d. 1802) on dramatic depiction in music (1780); and the brothers Von Dalberg (d. 1817, 1812) on a variety of subjects (from 1787).
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Treatises upon particular instruments or instruction-books were frequent, those pertaining to the organ and the piano being the most conspicuous.
Thus, regarding organ-building, appeared in 1766-78 (3 vols., and a 4th added in German by J. C. Vollbeding, 1793) the notable treatise of François Bedos de Celles (d. 1779), a Benedictine of St. Maur; with others in 1779 by Johann Samuel Halle (d. 1810), a teacher at Berlin; in 1801 by Georg Christian Friedrich Schlimbach of Berlin (d. after 1806); in 1804 by Johann Heinrich Zang of Schweinfurt (d. 1811); and in 1806 by Vogler (d. 1814)—the latter proposing simplifications and improvements, not all of which secured acceptance. Among organ instruction-books may be noted those in 1766-1810 by Joachim Hess (d. c. 1810), for over 50 years at Gouda (Holland); in 1795-8 by Knecht of Birberach (d. 1817), Vogler's special rival; and in 1801-8 by Kittel of Erfurt (d. 1809).
Regarding violin-playing there were noted works (1756) by Leopold Mozart (d. 1787), and (1791-6) by Francesco Galeazzi of Rome (d. c. 1819); regarding flute-playing several (1786-1800) by Johann Georg Tromlitz (d. 1805) of Leipsic, as well as the autobiography (1807) of Friedrich Ludwig Dulon (d. 1826), a widely-known blind flutist; and regarding trumpet and drum music (1795) by Johann Ernst Altenburg of Weissenfels and Bitterfeld (d. 1801). John Gunn (d. c. 1824) issued various instruction-books for the piano, 'cello (1793) and flute, besides an important history of Scottish harpers (1807).
