appreciated The high tessitura of the instrument discouraged composers from writing idiomatically for the instrument The exploitation of the highest registers posed special problems for makers and players Interest in clarino (4′ pitch) instruments was waning As a result of the first five factors, the recorder had a bad reputation, which discouraged students from studying the instrument In the Baroque, the majority of professional recorder players were primarily oboists or string players. For this reason, the number of professional exponents of the recorder was smaller than that of other woodwinds. Others attribute the decline of the recorder in part to the flute innovators of the time, such as Grenser, and Tromlitz, who extended the transverse flute's range and evened out its tonal consistency through the addition of keys, or to the supposedly greater dynamic range and volume of the flute. Similar developments occurring in many other orchestral instruments to make them louder, increase their range, and increase their tonal consistency did not simultaneously occur in the case of the recorder. A complementary view recently advanced by Nikolaj Tarasov is that the recorder, rather than totally disappearing, evolved in similar ways to other wind instruments through the addition of keys and other devices, and remained in use throughout the nineteenth century, with its direct descendant's popularity overlapping with the late nineteenth- and early twentieth-century recorder revival. Support for this view rests on the organological classification of some nineteenth century duct flutes as recorders. For more on this question, see "Other duct flutes". Other duct flutes Duct flutes remained popular even as the recorder waned in the eighteenth century. As in the instrument's earliest history, questions of the instrument's quiddity are at the forefront of modern debate. The modification and renaming of recorders in the eighteenth century in order to prolong their use, and the uncertainty of the extent of the recorder's use the late eighteenth and early nineteenth centuries have fuelled these debates. Some recent researchers contend that some nineteenth-century duct flutes are actually recorders. This article briefly discusses the duct flutes presented as successors to the recorder: the English flageolet and the csakan, which were popular among amateurs in the second half of the eighteenth century, and the whole of the nineteenth. Flageolets The word flageolet has been used since the sixteenth century to refer to small duct flutes, and the instrument is sometimes designated using general terms such as