Works of less importance were issued in 1801 by Pietro Gianelli of Venice
(d. 1822?); in 1802-29 by Antonio Calegari of Padua (d. 1828), whose early
ideas were extremely mechanical; from 1812 by William Crotch of Oxford
(d. 1847); from 1815-6 by Johann Heinrich Göroldt of Quedlinburg (d. after
1835); in 1818-9 by J. G. Werner of Merseburg (d. 1822); in 1820 by Friedrich Schneider of Leipsic and Dessau (d. 1853); in 1820-4 by the Portuguese
Rodrigo Ferreira da Costa (d. 1825); from 1826 by August Swoboda of
Vienna; in 1827 (ed. by Seyfried) by Joseph Preindl of Vienna (d. 1823);
from 1828 by Dionys Weber of Prague (d. 1842); about 1830 on instrumentation
by Giuseppe Pilotti of Bologna (d. 1838); in 1830 by Daniel Jelensperger
of Paris (d. 1831); in 1830-2 by Domenico Quadri of Milan and
Naples (d. 1843); and in 1834 by Victor Dourlen of Paris (d. 1864), a follower
of Catel.
On rhythm and metre there were several notable discussions, as from 1796 by the Leipsic professor Johann Gottfried Jakob Hermann (d. 1848); from 1807 by Johann August Apel (d. 1816), also of Leipsic, who strongly opposed Hermann's views; and in 1821 by August Böckh of Berlin (d. 1867).
In the field of history, the only apparently comprehensive work was one in 1819 (2 vols.) by the London organist Thomas Busby (d. 1838), which was neither original nor well-ordered. More important were monographs on special topics, as in 1799 on music in Bremen by W. C. Müller (d. 1831); in 1804-7 on ancient and modern music in the Orient by G. A. Villoteau (d. 1839), who went with Napoleon's Egyptian expedition in 1798; in 1810 on contrasts between ancient and modern styles by Joubert de La Salette (d. 1832), who also wrote on notation; in 1817 on the Thomasschule in Leipsic by Friedrich Wilhelm Ehrenfried Rost (d. 1835); in 1818 on the half-century of music in Vienna and in 1835 on the Royal Library there by J. F. Mosel (d. 1844); in 1821 on the mediæval modes by the Moravian Peter Mortimer (d. 1828); in 1824 on notation systems by G. M. Raymond (d. 1839); in 1827-32 an able series of articles on topics in ancient and mediæval music by François Louis Perne (d. 1832), who in 1818 succeeded Catel at the Paris Conservatoire; in 1829 on the rise of the chorale by Johann Friedrich Naue (d. 1858), organist at Halle; in 1829-32 on Gregorian music and on the organ by Franz Joseph Antony (d. 1837), organist at Münster; and in 1831-2 some notes by Georg Christoph Grosheim (d. 1847).
Contemporaneous Italian music was discussed in 1811 by the Venetian Giovanni Agostino Perotti (d. 1855); in 1822 (2 vols.) by the Russian Gregor Wladimir Orlow (d. 1826); and again in 1836 by the Viennese Franz Sales Kandler (d. 1831). The problem of Mozart's Requiem was opened soon after 1820 by Gottfried Weber (d. 1839), to whom replies were made in 1826-7 by Stadler (d. 1833) and Mosel.
Criticism mingled with history was represented by various keen articles (from 1810), by E. T. A. Hoffmann (d. 1822); by the valuable miscellanies Für Freunde der Tonkunst (4 vols., 1824-32) of the Leipsic editor Johann Friedrich Rochlitz (d. 1842), which are specially strong upon vocal music; and by the famous essays Ueber Reinheit der Tonkunst (1825) of the Heidelberg professor Anton Friedrich Justus Thibaut (d. 1840), which latter were attacked (1826) by the Swiss publisher Hans Georg Nägeli (d. 1836).
