Editing Simon Sechter (section)

== Teaching methods ==
Others whom Sechter taught include [[Henri Vieuxtemps]], [[Franz Lachner]], [[Eduard Marxsen]] (who taught [[Johannes Brahms]] piano and counterpoint), [[Johann Nepomuk Fuchs (composer)|Johann Nepomuk Fuchs]], [[Gustav Nottebohm]], [[Anton Door]], [[Karl Umlauf]], [[Béla Kéler]], [[Nina Stollewerk]], [[Sigismond Thalberg]], [[Adolf von Henselt]], [[Anton de Kontski]], [[Kornelije Stanković]] and [[Theodor Döhler]].

Sechter had strict teaching methods. For instance, he forbade Bruckner to write any original compositions while studying counterpoint with him. The scholar [[Robert Simpson (composer)|Robert Simpson]] believes that "Sechter unknowingly brought about Bruckner's originality by insisting that it be suppressed until it could no longer be contained."<ref>''The Essence of Bruckner'' By Robert Simpson, Robert Wilfred Levick Simpson Gollancz, 1967</ref> Sechter taught Bruckner by mail from 1855 to 1861 and considered Bruckner his most dedicated pupil. Upon Bruckner's graduation, Sechter wrote a [[fugue]] dedicated to his student.

In the three-volume treatise on the principles of composition, ''Die Grundsätze der musikalischen Komposition'', Sechter wrote a seminal work that influenced many later theorists. Sechter's ideas are derived from [[Jean-Philippe Rameau]]'s theories of the fundamental bass, always diatonic even when the surface is highly chromatic; music theory historians strongly associate Sechter with the Viennese conception of fundamental bass theory.<ref>p. 60, Cook (2007) Nicholas. Oxford ''The Schenker project: culture, race, and music theory in fin-de-siècle Vienna'' Oxford University Press</ref> Sechter was an advocate of [[just intonation]] over [[well temperament|well-tempered tuning]].{{Citation needed|date=May 2009}}