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Acoustical questions continued to command attention, especially from those in search of harmonic foundations. As examples we may cite works by Kirnberger of Berlin (d. 1783) on temperament (1760); by Johann Heinrich Lambert (d. 1777), a Prussian civil official, on implements of research, flute-tones, etc. (1763-75); by Berlin of Drontheim (d. c. 1775) on tonometry by logarithms (1767); by Giordano Riccatti (d. 1790), an Italian nobleman of Treviso (works from 1767); by Marpurg of Berlin (d. 1795) on temperament (1779); by Vallotti (d. 1780), the Paduan organist (1779); and by the Englishman Matthew Young (d. 1800), a general treatise (1784). To these may be added writings (1800-07) by Vogler (d. 1814) and Türk of Halle (d. 1813).

Ernst Chladni (d. 1827) led the age in musical physics, surpassing Sauveur in the reach and exactitude of his investigations. Born in 1756 and extraordinarily educated in geography, medicine, law and physics, from 1787 he devoted himself wholly to the phenomena of sound. He traveled widely as a lecturer and was highly honored, as by Napoleon in 1808. His best demonstrations were regarding 'partial-tones' and the vibrations of rods and plates. Besides his classic treatise, Die Akustik (1802), he published many lesser works. He wasted energy in perfecting the 'euphon' and 'clavicylinder,' instruments whose tones were produced by friction upon glass rods or tubes.

The number of works on composition was considerable, ranging from elaborate treatises to popular handbooks. The ablest were by Italians or Germans. Many of them were marred by needless polemics.

Giambattista Martini (d. 1784) of Bologna, besides being a strong composer, was the most learned theorist of the old school and a teacher sought after from all quarters. His published works did not begin till 1757, when he was over 50. After two smaller works (1757, '69), came his famous treatise (2 vols., 1774-6), valuable both for copious examples from early masters, mostly of the Roman school, and for profound annotations and discussions. The standpoint, as in the case of Fux, was that of advanced mediæval theory, but held without severity. For years Martini also labored upon a History (3 vols., 1757-81, 4th unfinished), but did not get beyond ancient times. He left much material in MS., including polemical essays against Eximeno, Riccieri and others, a dictionary of terms, some acoustical discussions, and valuable catalogues of musicians and books, made up out of his extraordinary library (17,000 vols.). He was full of kindness for musicians, young and old, as shown in his welcome (1770) to the boy Mozart, and his acquaintance was almost as wide as his fame. Giuseppe Paolucci (d. 1777), choirmaster at Venice, Sinigaglia and Assisi, Martini's pupil, anticipated his method by a notable treatise (1765-72). Giambattista Mancini (d. 1800), another pupil, long a teacher at the court of Vienna, followed (1774).

Francesco Antonio Vallotti (d. 1780), the great organist of Padua, issued a striking treatise (1779, unfinished) that helped to show that the old contrapuntal theories and the new harmony were not essentially antagonistic. His style was clear and his reasoning generally cogent. Luigi Antonio Sabbatini (d. 1809), pupil of Martini and Vallotti, from 1766 choirmaster at Rome and from 1786 at Padua, followed with several important works (1789-1802).