About the same time worked Bernhard Christian Ludwig Natorp (d. 1846), a Lutheran clergyman and pedagogue, from 1808 at Potsdam and from 1819 at Münster (books from 1813); and Johann Friedrich Naue (d. 1858), musical director at Halle University (books from 1818). Other names in Germany are from 1815 Johann Heinrich Göroldt of Quedlinburg (d. after 1835) and Friedrich Silcher (d. 1860) of Tübingen University; from about 1820 Johann August Günther Heinroth (d. 1846), Forkel's successor at Göttingen University, Gottfried Emil Fischer of Berlin (d. 1841) and Xaver Schnyder von Wartensee of Frankfort (d. 1868); from 1823 Christian Urban of Danzig; from 1828 Karl Schade of Quedlinburg (d. after 1835); and later Ludwig Erk (d. 1883), long famous at Berlin. To the efforts of these and others was due the extensive pursuit of music in schools and churches as a specialty.
In France Alexandre Choron (d. 1834), a highly educated scholar, was active from about 1810 in improving choir-schools and from 1817 through his notable Church Music School. In the conduct of this enterprise, till checked by the Revolution of 1830, he laid the foundation for all the later French projects for popularizing musical knowledge, preparing many excellent text-books (from 1811). Another leader, of even greater practical importance, was Guillaume Louis Wilhem [Bocquillon] (d. 1842), who from 1810 taught in the Lycée Napoléon with such success that from 1819 he was made supervisor in the Paris primary schools. Out of his numerous classes grew in 1833 the Orphéon movement (see sec. 218).
It was in connection with Wilhem's work that the 'méloplaste' system, invented before 1818 by Pierre Galin of Bordeaux (d. 1821), came into notice. This was the first practical application of numerals for notes. The system was advanced by Joseph François Snel (d. 1861), Édouard Jue (works from 1823), and especially by Aimé Paris (d. 1866), who added a method for teaching time-patterns, and later by Émile Chevé (d. 1864), who brought the whole to a complete statement (1850).
In England popular instruction by classes was urged as early as 1810 by Joseph Kemp (d. 1824), previously organist at Bristol. But their first large application was in 1841 under John Hullah (d. 1884), a very successful imitator of Wilhem, whose activity as teacher and author continued till 1880. From his system was derived the present organization of English school-teaching in singing. Another active teacher was Joseph Mainzer (d. 1851), vocal instructor in schools, from 1841 at Manchester.
The Tonic Sol-Fa system was first outlined about 1840 by Sarah Ann Glover (d. 1867), a teacher at Norwich; but its development was due to John Curwen (d. 1880), a clergyman of Plaistow. The latter carefully perfected details of notation, teacher-training and publication, and from about 1855 the propagation of the method through classes and associations was rapid.
It is extraordinary with what bitterness almost every one of these efforts to popularize music was opposed by musicians. Teaching by classes doubtless involved difficulties, and each particular movement used novel methods that were somewhat debatable; but these facts do not excuse the hostility often displayed.
