Soon after 1810 Johann Bernhard Logier (d. 1846), then organist at Westport, Ireland, invented the 'chiroplast,' a mechanical aid in securing a good hand-position in piano-playing. This device was for a time extensively popular, not only in England, but in Germany and France. Logier also advocated teaching piano-playing through simultaneous class-practice. Both parts of his system were strongly criticized and neither of them has persisted in use as proposed. Friedrich Kalkbrenner (d. 1849) and Franz Stöpel (d. 1836) were leading representatives of Logier's ideas at Berlin and Paris.
As prominent illustrations of the many vocal specialists may be enumerated Johann Aloys Miksch of Dresden (d. 1845); Marco Bordogni of Paris (d. 1856); Niccolò Vaccai (d. 1848), successively at Venice, Trieste, Vienna, Paris, London and Milan; Franz Hauser of Vienna and Munich (d. 1870); Panseron of Paris (d. 1859); Gaetano Nava of Milan (d. 1875); Manuel Garcia of Paris (d. 1906), the inventor of the laryngoscope; Duprez of Paris (d. 1896); Heinrich Panofka of London, Paris and Florence (d. 1887); Baltasar Saldoni of Madrid (d. 1890); Giuseppe Concone of Paris (d. 1861); Francesco Lamperti of Milan (d. 1892); Bordese of Paris (d. 1886); Sieber of Dresden and Berlin (d. 1895); Salvatore Marchesi and his wife Mathilde (Graumann) Marchesi of Vienna and Paris; Julius Stockhausen (d. 1906), latterly of Frankfort; Enrico Delle Sedie of Paris; Pinsuti of London (d. 1888); and Julius Hey (d. 1909), of Munich and Berlin, the foremost exponent of Wagnerian vocalism (see sec. 222).
227. Historical Studies.—In this period the modern spirit
of scholarship became engaged in earnest upon the problems
of music-history. At various places original research was prosecuted,
usually by those in close contact with large libraries.
Manuscript music and other data were here and there collected,
collated and sometimes published. Civil and ecclesiastical
records began to be systematically searched for statistical facts,
and the musical annals of localities, institutions and branches
of effort to be compiled. Investigation of the sources thus provided
the materials for sound history. Out of this study emerged
a much more just and ample conception of the successive stages
in musical progress and of the factors at work in it. Fresh
and valuable classifications, generalizations and appraisements
began to accumulate. It was not until after 1850 that the results
began to show in many comprehensive manuals, but before
that time the work of research was actively undertaken.
Each decade since has witnessed the rapid enlargement of
musical scholarship, until now its magnitude baffles description
or easy comprehension by any single mind.
The fields of investigation were found throughout the whole historic sequence—especially Greek music, Plain-Song, the
