Here you will find material belonging to the workshop “Music education in the 18th century and the use of instrumental and vocal methods”. For questions I can be reached at jelmaa@gmail.com. Don’t hesitate to email me.

Databases and websites to search for instrumental and vocal methods:



A small selection of method books and treatises I looked at, which can be found through the databases mentioned above:

  • Antoine Mahaut, traverso, 18e eeuw (Google Books)
  • Hotteterre, musette, 1738 (IMSLP)
  • Michel Corrette, viool, 18e eeuw (IMSLP)
  • Michel Corrette, draailier (IMSLP)
  • Johann Joachim Quantz, traverso, 1757 (IMSLP)
  • Michel Corrette, traverso, 18e eeuw (ISMLP)
  • François Devienne, traverso, 18e eeuw (IMSLP)
  • Michel Corrette, mandoline & cittern, 18e eeuw (IMSLP)
  • Laure Cinti-Damoreau, zang, 19e eeuw, IMSLP
  • Heugel & Sala, castagnetten, 19e eeuw (IMSLP)
  • Alexandre Villeneuve, zang, 1733 (IMSLP)
  • Alexis de Garaudé, zang, 19e eeuw (IMSLP)
  • Manuel Garcia (jr), zang, twee delen, 19e eeuw (IMSLP)
  • Leopold Mozart, viool, 1756 (IMSLP), Nederlandse vertaling 1766 (Google books)
  • Peter Prelleur, zang, traverso, blokfluit, hobo, viool, klavecimbel, orgel, 1731 (Gallica)
  • Girolamo Crescentini, zang, ca. 1800 (IMSLP)


Possible research questions when examining instrumental & vocal methods:

  • Is the method intended and suitable for beginners or advanced students (according to the method and according to you)?
  • Is the method intended and suitable for independent learning or for use with a teacher (according to the method and according to you)?
  • Is the method intended and suitable for amateurs or future professionals (according to the method and in your opinion)?
  • Is the method set up sequentially or systematically (e.g. per key)?
  • Who is the author? In which year was the method written or published, in which country and what was going on there?
  • What can you say about the implicit or explicit goals of the method? Think of guitar methods that serve for vocal accompaniment.
  • There are methods that try to capture & pass on all available knowledge. For example, Garcia, Sor, Garaudé, C. P. E. Bach. There are also methods that try to be as short and concise as possible (Villeneuve). Where does your method fall in the spectrum of completeness – conciseness?
  • Sometimes political statements are made in methods, for example about the French vs. the Italian style (Mattheson)
  • Is there any “negative advices”, for example things the author says you should never do? How do you interpret them?
  • You will almost always find information about performance practice: ornaments, variation, phrasing, technique. Think about the application of these advices.
  • You get the best results from combining sources with repertoire and methods from the same period (e.g. half a century) and country, if possible. To which repertoire do the advices in your method apply?