1841 Joseph Louis d'Ortigue (d. 1866), also of Paris; from 1840 Pietro Alfieri (d. 1863) of the English College at Rome; in 1844-9 the Paris organist Félix Danjou (d. 1866), who discovered the Montpellier antiphonary; in 1848-54 Edmond Duval of Mechlin, whose views were hotly contested; the Jesuit Louis Lambillotte (d. 1855), the interpreter of the St. Gall antiphonary (1851), but not generally accepted as a practical reformer; in 1852-5 J. G. Mettenleiter of Ratisbon (d. 1858); in 1852-9 the Parisian composer and patron Marie Désiré Beaulieu (d. 1863); in 1852-62 the Abbé F. Raillard (d. ?), teacher at Nîmes and Juilly; in 1854-61 Félix Clément (d. 1885); in 1856 François Auguste Gevaert (d. 1908), of Ghent, who reentered the field later with epoch-making treatises (1890-5); in 1858 Anslem Schubiger of Einsiedeln (d. 1888); and from 1865 F. X. Haberl (d. 1910), of Ratisbon. The founder of the famous Solesmes group of Gregorian specialists was Prosper Guéranger (d. 1875), Benedictine abbot there (works from 1835), from whom Joseph Pothier and André Mocquereau derived the impulse and method of their recent remarkable studies (from 1880).
Karl von Winterfeld (d. 1852), born in 1784, from 1816 judge at Breslau and from 1832 supreme-court judge at Berlin, was one of the earliest of the erudite students of the older church music. His works include monographs on Palestrina (1832), on Giovanni Gabrieli (1834), and on evangelical church music (1840-62), all of masterly scope and method. Valuable publications in the choral field were made from 1830 by Emmanuel Christian Gottlieb Langbecker of Berlin (d. 1843); in 1832 by Heinrich August Hoffmann of Breslau (d. 1874); from 1847 by Eduard Emil Koch of Heilbronn (d. 1871); and in 1852 by Gottfried Döring of Elbing (d. 1869).
Edmond Henri de Coussemaker (d. 1876), born in 1805 in northern France and by profession a judge there, was led by Fétis' writings to adopt historical work. He published invaluable monographs on Hucbald (1841), mediæval instruments (1845), the rise of polyphony (from 1852), the mediæval drama (1861), and Adam de la Hâle (1872), besides superb collections of mediæval documents (1864-76). With him may be grouped many others in the Belgian (and Dutch) series, such as from 1840 Florent Corneille Kist of The Hague (d. 1863); from 1846 Joseph Karel Boers of Nymwegen and Delft (d. 1896); Edmond Vanderstraeten (d. 1895), at first of Ghent and from 1857 in the Brussels library, whose works (from 1851) on music in the Netherlands are of extreme value, especially the collection of historic masterpieces (1867-85); from 1860 Xavier Victor van Elewyck (d. 1888), cathedral-choirmaster at Louvain; from 1860, also, Édouard Gregoir of Antwerp (d. 1890); from 1862 the Chevalier Burbure de Wessembeek (d. 1889), a specialist on Antwerp history; and the composer François Auguste Gevaert, from 1857 at Ghent and from 1871 head of the Brussels conservatory (chief historical works since 1875).
Various mediæval topics were treated from 1821 by Gottfried Wilhelm Fink of Leipsic (d. 1846); from 1826 by Raphael Georg Kiesewetter (d. 1850), who wrote on the Netherlanders, the origin of European music, Guido, the beginnings of secular music, Arabic music, etc.; in 1836-8 by Auguste Bottée de Toulmon (d. 1850), librarian of the Paris Conservatoire; from 1841 by Pietro Alfieri of Rome (d. 1863), with fine collections of Palestrina and
