n the early 1800s, Italian composers, Gaspare Spontini and Gioacchino Rossini, encouraged the use of cymbal mounting brackets in their compositions. French composer, Hector Berlioz, on the other hand, felt this practice was counter-productive and that it did not honor the quality of the music, saying it was only suitable for the accompaniment of "low brow" entertainment like sword swallowers and jugglers in his 1844 treatise on orchestration.