ites ▁based ▁on ▁the ▁models ▁and ▁performance ▁practices ▁of ▁L ul ly , ▁synth es ized ▁with ▁M uff at ' s ▁studies ▁with ▁Cor elli ▁in ▁Italy , ▁which ▁he ▁previously ▁presented ▁to ▁the ▁musical ▁public ▁in ▁his ▁Ar mon ico ▁Trib uto ▁and ▁Flor ile g ium ▁Prim um . ▁ ▁Writ ers ▁have ▁long ▁cred ited ▁M uff at ' s ▁impact ▁with ▁his ▁publication ▁of ▁an ▁explicitly ▁detailed ▁for ew ord ▁in ▁German , ▁French , ▁Italian ▁and ▁Latin ▁in ▁ 1 6 9 8 , ▁where ▁he ▁cod ifies ▁more ▁explicitly ▁than ▁any ▁other ▁writer ▁( and ▁primary ▁performance ▁practice ▁source ) ▁the ▁L ull ist ▁M anner ▁of ▁Play ing . ▁Through ▁the ▁impact ▁of ▁his ▁Flor ile g ium ▁Sec und um , ▁following ▁his ▁earlier ▁also ▁significant ▁works , ▁M uff at ▁has ▁been ▁cred ited ▁by ▁many , ▁including ▁the ▁great ▁ 1 8 th ▁century ▁writer ▁and ▁music ▁critic ▁Charles ▁Bur ney ▁to ▁introdu cing ▁the ▁" F rench ▁O u vert ure " ▁throughout ▁the ▁rest ▁of ▁Europe , ▁but ▁M uff at ▁can ▁be ▁perhaps ▁even ▁more ▁cred ited ▁as ▁" cre ating " ▁the ▁German ▁style ▁– ▁as ▁a ▁remarkable ▁and ▁unique ▁synth esis ▁of ▁the ▁Italian ▁and ▁French ▁styles ▁into ▁a ▁" new , ▁hy brid , ▁am alg am ated ▁style "; ▁creating ▁a ▁uniqu ely ▁ident ifiable ▁texture ▁what ▁has ▁come ▁down ▁to ▁us ▁as ▁the ▁beg inn ings ▁of ▁a ▁true , ▁unique , ▁German ▁musical