It comes as no surprise that the majority of the authors represented in these two volumes wrote, in one capacity or another, for the music journals of their day. Such journals were, after all, the primary forums for discourse about music throughout the century. Among the exceptions were some of the more pedagogically inclined authors, mostly to be found in vol. I – Reicha and Sechter, as conservatory professors of counterpoint, Czerny, as a private piano teacher, Momigny, music publisher, and theorist in isolation – who tended to cast their ideas in the more highly systematized form of the treatise, eschewing the literary style necessary for most journals. Other pedagogues, notably Mayrberger and Riemann, succeeded in placing serious theoretical articles with journals. Others of our authors served the periodical world from the editor's desk, some being founder-editors of journals, while Baini worked in the rarified world of the papal household.