799:
441:
especially these desecrators who dare lay hands on original works, subjecting them to horrible mutilations that they call corrections and perfections, which, they say, require considerable taste. Curses on them! They make a mockery of art! Such are these vulgar birds who populate our public gardens, perching arrogantly on the most beautiful statues, and, when they have soiled the brow of
Jupiter, Hercules' arm, or the breast of Jupiter, strut and preen as though they have laid a golden egg.
781:
737:
763:
42:
1040:
1559:
626:. Though music had not yet made it past the first phase, Unirhythm, by Fétis' time, he argues that composers may be able to "mutate" from one meter to another within the same melodic phrase. Though Liszt may have been an open disciple of the ideas of the Omnitonic and Omnirhythmic, the influence of such thinking can perhaps be seen most clearly in the music of
528:
only a governed and conditioned state, but it is a socially conditioned one. Scales are cultural manifestations, resulting from shared experience and education. Nature provides the elements of tonalité, but human understanding, sensibility, and will determine particular harmonic systems. This concept was called a "
479:, as the title implies, is a general outline rather than an exhaustive study. Fétis is attempting to show the "facts, errors, and truths" of previous theories and theorists, as he interprets them, in order to provide a solid grounding for other scholars and to prevent subsequent interpretive mistakes.
421:
with unbelievable complacency. Opposite the E flat which the clarinet sustains over a chord of the sixth (D flat, F, B flat) in the andante of the C minor symphony, Fétis had naively written ‘This E flat must be F. Beethoven could not have possibly made so gross a blunder.' In other words, a man like
247:
as soloist. Carcassi, as well as Sor, participated in the performance. The work is attributed NOT to the
Alsascian lutenist Valentin Strobel, but to Jean (Johann) Strobach, a member of a prominent Bohemian family of musicians. This Strobach (fl. 1650–1720) served Leopold I, and there is no evidence
301:
While Fétis's critical opinions of contemporary music may seem conservative, his musicological work was ground-breaking, and unusual for the 19th century in attempting to avoid an ethnocentric and present-centered viewpoint. Unlike many others at the time, he did not see music history as a continuum
278:
Fetis had the privilege to have
Paganini, Schumann and Berlioz as contemporaries and to work with the violin maker and dealer, Jean Baptiste Vuillaume. Fetis's work provides a unique window into the times and as such is a particularly valuable reference for the modern researcher, dealer and player.
527:
organizes music. The primary factor of determining tonality is the scale. It sets out the order of the succession of tones in major and minor (the only two "tonal" modes which he recognizes), the distances which separate the tones, and the resultant melodic and harmonic tendencies. Tonality is not
647:
and claimed to possess an original manuscript of the work but never produced it for examination. As early as 1866, musicologists were questioning the authenticity of the song, and when Fétis' library was acquired by the Royal
Library in Brussels after his death, no such manuscript could be found.
642:
The
Italian art song, "Se i miei sospiri", appeared in a Paris concert organized by Fétis in 1833. Fétis published the piece for voice and strings in 1838 and then again in 1843 for voice and piano with alternate lyrics ("Pietà, Signore"). It is these alternate lyrics with which the piece is now
404:
I saw that melody was antipathetic to him, that he only had a faint notion of rhythm; that his harmony, formed by an often monstrous accretion of notes, was nevertheless flat and monotonous; in a word I saw that he lacked melodic and harmonic ideas, and I judged that he would always write in a
440:
These young theorists of eighty, living in the midst of a sea of prejudices and persuaded that the world ends with the shores of their island; these old libertines of every age who demand that music caress and amuse them, never admitting that the chaste muse could have a more noble mission;
609:, where the alteration of the intervals of natural chords and modification by substitution of notes is so complex that it becomes impossible to identify the original chord. This is seen as a period of extremes, and undesirable compared to the moderately chromatic music of
648:
Owing to this and the fact that the style of the piece is inconsistent with
Stradella's own period, the authorship of the piece is now typically attributed to Fétis himself. The original Italian text for the song (Se i miei sospiri) was found set to different music by
515:
is the primary organizing agent of all melodic and harmonic successions and that the efforts of other theorists to find the fundamental principle of music in "acoustics, mathematics, aggregations of intervals, or classifications of chords have been futile."
506:
states that "to meditations we are indebted for the modern concept of tonality…he found himself emancipated from the spirit of a particular age, and able to render justice to all the various styles of music." Though some other theorists, most notably
617:
Fétis later applied this same system of ordres to rhythm, "the least advanced part of music... great things remain to be discovered." Though he did not publish these theories in any of his treatises, they appear in several articles for the
223:
and the king's chapelmaster. He also was the founder, and, until his death, the conductor of the celebrated concerts attached to the conservatory of
Brussels, and he inaugurated a free series of lectures on musical history and philosophy.
1209:
Shirlaw asserts that "anything more ill-considered, more indadequate than Fétis' 'metaphysical' theory of harmony based on the principle of tonality which he himself does not understand, and is unable to explain, it would be difficult to
306:, neither becoming better nor worse, but continually adapting to new conditions. He believed that all cultures and times created art and music which were appropriate to their times and conditions; and he began a close study of
1228:
Fétis, F.-J. Esquisse de L'histoire de l'Harmonie: An
English Language Translation of the François-Joseph Fétis History of Harmony. Translated, annotated, and edited by Mary I. Arlin. Stuyvesant, NY: Pendragon Press, 1994, p.
1199:
Fétis, F.-J. Esquisse de L'histoire de l'Harmonie: An
English Language Translation of the François-Joseph Fétis History of Harmony. Translated, annotated, and edited by Mary I. Arlin. Stuyvesant, NY: Pendragon Press, 1994, p.
543:
In his comparative work, Fétis attempted "a new method of classifying human races according to their musical systems" following contemporary trends of social darwinism in the emerging fields of ethnology and anthropology.
511:, have had decidedly negative views, Riemann's assessment captures the two key features of Fétis' text. Though he did not coin the term "tonality," Fétis developed the concept into its present-day form. He claimed that
1247:
Both the
Dahlhaus and Schellhous quotes can be found in: Schellhous, Rosalie. "Fétis's Tonality as a Metaphysical Principle: Hypothesis for a New Science." Music Theory Spectrum, Vol. 13, No. 2 (Autumn, 1991), p.
405:
barbarous manner; but I saw that he had the instinct for instrumentation, and I thought that he could fulfil a useful vocation in discovering certain combinations that others would put to better use than he.
1322:
Móricz, Klára. "The Ambivalent Connection between Theory and Practice in the Relationship of F. Liszt & F.-J. Fétis." Studia Musicologica Academiae Scientarum Hungaricae, T. 35, Fasc. 4 (1993-1994), p.
248:
that Fetis's score is a hoax. The composition was published in 1698, although no copy is known to have survived, except Fetis' manuscript score, which is in the Royal Conservatory Library in Brussels.
457:
Although known primarily for his contributions to musicology and criticism, Fétis had effects on the realm of music theory as well. In 1841 he put together the first history of harmonic theory, his
540:, culturally relative sense in his 1990 book Studies on the Origin of Harmonic Tonality, and theorist Rosalie Schellhous posits that the Kantian term "transcendental" might be more appropriate.
602:
was the first to use such modulations as a means of expression. In this order, the diminished 7th and augmented 6th chords become important as they can modulate to several different tonalities.
822:
449:, he describes the word "fantastique" saying that "this word has even slid into music. ‘Fantastique' music is composed of instrumental effects with no melodic line and incorrect harmony."
321:. His valuable library was purchased by the Belgian government and presented to the Royal Library. His historical works, despite many inaccuracies, remain of great value for historians.
388:, "...what Monsieur Berlioz composes is not part of that art which we distinguish as music, and I am completely certain that he lacks the most basic capability in this art." In the
1639:
598:
Pluritonic – Modulation is achieved through enharmonic relationships in which one note of a chord is considered the point of contact between different scales. Fétis claims that
163:
In 1866 his wife died, and he withdrew from the Brussels society and court. When his father died, Eduard inherited his complete library and collection of musical instruments.
1055:
1649:
1238:
Schellhous, Rosalie. "Fétis's Tonality as a Metaphysical Principle: Hypothesis for a New Science." Music Theory Spectrum, Vol. 13, No. 2 (Autumn, 1991), p. 219-240.
1313:
Arlin, Mary I. "Metric Mutation and Modulation: the Nineteenth-Century Speculations of F.J. Fétis." Journal of Music Theory, Vol. 44, No. 2 (Autumn, 2000), p. 261.
135:, eldest son of Antoine-Joseph Fetis and Elisabeth Desprets, daughter of a noted surgeon. He had nine brothers and sisters. His father was titular organist of the
1589:
1060:
970:
171:
His talent for composition manifested itself at the age of seven, and at nine years old he was an organist at Saint Waltrude, Mons. In 1800 he went to
1599:
1584:
1415:
373:
139:. His grandfather was an organ manufacturer. He was trained as a musician by his father and played at young age on the choir organ of Saint Waltrude.
263:). It includes detailed chapters on the history and development of the violin family, old master Italian violin makers (including the Stradivari and
1629:
426:
Troupenas did in fact remove Fétis' editorial marks, but Berlioz was still unsatisfied. He went on to criticize Fétis in one of the monologues of
1644:
1654:
1594:
1219:
Arlin, Mary I. "Fétis' Contribution to Practical and Historical Music Theory." Revue belge de Musicologie, Vol. 26/27 (1972/1973), p. 106.
463:
390:
207:
156:
384:
Some of his criticisms of contemporary composers have become quite famous, as well as the responses that they engendered. He said of
1659:
1162:
1084:
997:
115:. He was among the most influential music intellectuals in continental Europe. His enormous compilation of biographical data in the
310:
as well as European folk music and music of non-European cultures. Thus Fétis built the foundation for what would later be termed
271:. His interest in instruments can also be gathered from his very substantial collection, which includes the oldest surviving Arab
1619:
1614:
552:
However, if one wishes to interpret Fétis' metaphysical theory, one of his unique theoretical ideas is laid out in book 3 of the
143:
136:
1332:
Glenn Paton, John (1991). "26 Italian Songs and Arias: An Authoritative Edition Based on Authentic Sources". Alfred Publishing.
1379:(2008). "The Making of a Dictionary: François-Joseph Fétis, Aristide Farrenc, and the "Biographie universelle des musiciens".
176:
1634:
1609:
1604:
947:
220:
1411:
1304:
Bloom, Peter A. "Friends and Admirers: Meyerbeer and Fétis." Revue belge de Musicologie, Vol. 32/33 (1978-1979), p. 174-187.
1295:
Josephson, Nors S. "François-Joseph Fétis and Richard Wagner." Revue belge de Musicologie, Vol. 26/27 (1972-1973), p. 84-89.
895:
184:
587:
Transitonic – Order which began with the introduction of the dominant 7th chord into harmonic discourse, sometime between
1624:
941:
768:
752:
595:. This development is also directly related to the codification of cadential systems and periodic phrase structure.
333:
1019:
F.J. FETIS 1784 - 1871. HET MUZIEKLEVEN VAN ZIJN TIJD. Brussel, Koninklijke Bibliotheek Albert I, 1972/ pag. xxiii
1664:
882:
1362:
F.J. FETIS 1784 - 1871. HET MUZIEKLEVEN VAN ZIJN TIJD. Brussel, Koninklijke Bibliotheek Albert I, 1972/ pag. 100
282:
More important perhaps than his compositions are his writings on music. They are partly historical, such as the
1679:
215:
devoted exclusively to musical matters. Fétis remained in the French capital till 1833, when at the request of
1428:
482:
Fétis' main theoretical work and the culmination of his conceptual frameworks of tonality and harmony is the
1674:
1669:
1444:
981:
445:
Not one to be outdone, Fétis may have had the last word in this debate. In the 1845 edition of his treatise
361:
252:
686:
Curiosités historiques de la musique, complément nécessaire de la musique mise à la portée de tout le monde
790:
772:
311:
396:
1579:
1574:
649:
644:
508:
414:
216:
1100:
17:
1436:
557:
422:
Beethoven could not possibly fail to be in entire agreement with the harmonic theories of M. Fétis.
369:
353:
151:
560:. Fétis argues that tonality has evolved over the course of time through four distinct phases, or
1388:
976:
936:
786:
357:
329:
256:
202:
132:
989:
268:
194:
in the hope of discovering and establishing their original form. In this year he also began his
1149:
Fantastic Symphony: An authoritative score; historical background; analysis; views and comments
302:
of increasing excellence, moving towards a goal, but rather as something which was continually
142:
In October 1806 he married Adélaïde-Louise-Catherine Robert, daughter of the French politician
1544:
1504:
1492:
1468:
1158:
1080:
993:
804:
307:
180:
1532:
1126:
1526:
1498:
1486:
1480:
1474:
1462:
1271:
1045:
One or more of the preceding sentences incorporates text from a publication now in the
985:
808:
191:
47:
1376:
1006:
965:
627:
537:
349:
295:
103:
704:
Esquisse de l'histoire de l'harmonie considérée comme art et comme science systématique
487:
385:
365:
345:
337:
243:, the most famous of which is the "Lute concerto by Valentin Strobel", premiered with
41:
1568:
1516:
1259:
1154:
1051:
1046:
931:
533:
341:
128:
68:
1520:
1456:
503:
468:
325:
244:
940:
580:
between the 4th and 7th scale degrees. This phase is also referred to by Fétis as
1540:
623:
529:
495:
491:
147:
592:
569:
108:
1064:. Vol. 10 (11th ed.). Cambridge University Press. pp. 294–295.
1147:
692:
Biographie universelle des musiciens et bibliographie générale de la musique
610:
573:
410:
486:
of 1844. This book has influenced later theorists and composers including
1553:
428:
318:
264:
232:
112:
86:
1392:
1275:
1381:
Revue belge de Musicologie / Belgisch Tijdschrift voor Muziekwetenschap
742:
631:
605:
Omnitonic – The final phase of tonality, and one embodied for Fétis by
588:
577:
236:
606:
599:
212:
1549:
198:, the most important of his works, which did not appear until 1834.
175:
and completed his studies at the Conservatory under such masters as
227:
Fétis produced a large quantity of original compositions, from the
228:
172:
576:
triads with no possibility for modulation due to the lack of the
461:. Assembled from individual articles that Fétis published in the
240:
409:
Berlioz, who had proof-read Fétis' editions of the first eight
374:
List of music students by teacher: C to F#François-Joseph Fétis
1178:
290:(Paris, 1869—1876); and partly theoretical, such as the
930:
This article incorporates text from a publication now in the
668:
Méthode elementaire et abregée d'harmonie et d'accompagnement
710:
Traité complet de la théorie et de la pratique de l'harmonie
484:
Traité complet de la théorie et de la pratique de l'harmonie
823:
Royal Academy of Science, Letters and Fine Arts of Belgium
652:
in his 1693 oratorio "The Martyrdom of St. Theodosia".
536:
argues that the term is used in this case to denote an
634:
and mixing of time signatures is a common occurrence.
622:
and in some lectures which had a profound impact on
1495:, 1864 (496 pages) Martini, leP – Pérolle (+vol. 5)
643:typically associated. Fétis attributed the song to
154:(1812–1909) helped his father with the editions of
75:
54:
32:
1146:
1127:"Analyse critique: Épisode de la vie d'un artiste"
969:
119:remains an important source of information today.
1535:, 1880 (691 pages) Holmes, Mlle Augusta – Zwingli
1501:, 1864 (548 pages) Perotti – Scultetus (+vol. 8)
1260:"François-Joseph Fétis, Correspondance (review)"
572:tonality, the unitonic phase consists mainly of
1489:, 1863 (480 pages) Kechlina – Martini (+vol. 6)
1471:, 1861 (484 pages) Boildieu – Derossi (+vol. 1)
1153:(1st ed.). New York: W.W. Norton. p.
1079:. Stuyvesant, NY: Pendragon Press. p. 85.
438:
419:
402:
190:In 1806 he undertook the revision of the Roman
107:; 25 March 1784 – 26 March 1871) was a Belgian
1507:, 1865 (527 pages) Sebastiani – Zyka (+vol. 7)
1358:
1356:
1354:
1352:
1350:
1348:
1346:
1344:
1342:
1340:
1338:
8:
1640:Academic staff of the Conservatoire de Paris
1465:, 1860 (478 pages) Aaron – Bohrer (+vol. 2)
447:La musique mise à la porte de tout le monde
294:(Paris, 1840), written in conjunction with
27:Belgian musicologist and critic (1784–1871)
1441:with occurrences of "Fétis" (Google Books)
939:; Peck, H. T.; Colby, F. M., eds. (1905).
201:In 1821 he was appointed professor at the
40:
29:
1449:with occurrences of "Fétis" (archive.org)
1416:International Music Score Library Project
990:10.1093/omo/9781561592630.013.60000200743
900:Symphonic Fantasy for organ and orchestra
394:issue of 1 February 1835 he wrote of the
267:families) and an analysis of the bows of
160:and became member of the Royal Academy.
1133:(in French). IX année (5). Paris: 33–35.
1033:
1031:
1029:
1027:
1025:
255:in writing a fascinating treatise about
1650:Members of the Royal Academy of Belgium
957:
674:Traité du contrepoint et de la fugue...
1477:, 1862 (480 pages) Désargus – Giardini
871:Ouverture de concert à grand orchestre
662:Biographies de Joseph et Michael Haydn
1483:, 1862 (491 pages) Gibbons – Kazynski
1433:with "Fétis" as author (Google Books)
1077:Music Theory from Zarlino to Schenker
951:(1st ed.). New York: Dodd, Mead.
102:
7:
1513:Biographie universelle des musiciens
1453:Biographie universelle des musiciens
1412:Free scores by François-Joseph Fétis
724:(Paris, 1869–76; 5 vls., unfinished)
459:Esquisse de l'histoire de l'harmonie
284:Curiosités historiques de la musique
196:Biographie universelle des musiciens
117:Biographie universelle des musiciens
18:Biographie universelle des musiciens
1590:19th-century Belgian male musicians
837:Member of the Academy of Stockholm.
716:Antoine Stradivari, luthier célèbre
261:Antoine Stradivari, luthier célèbre
150:. They had two sons: the elder son
1529:, 1878 (480 pages) Abadie – Holmes
676:(Paris: Charles Michael Ozu, 1824)
464:Revue et Gazette musicale de Paris
25:
1125:Fétis, Joseph (1 February 1835).
146:and Louise de Keralio, friend of
1600:Belgian male classical composers
1585:19th-century classical composers
1557:
1038:
840:Member of the Academy of London.
834:Member of the Academy of Vienna.
831:Member of the Academy of Berlin.
797:
779:
761:
735:
548:Harmonic and rhythmic modulation
251:In 1856, he worked closely with
722:Histoire générale de la musique
688:(Paris: Janet et Cotelle, 1830)
467:around 1840, the book predates
288:Histoire générale de la musique
137:noble chapter of Saint-Waltrude
1630:Book and manuscript collectors
1550:Works by François-Joseph Fétis
1541:Works by François-Joseph Fétis
1258:Murphy, Kerry (January 2008).
1101:"Alexandria to Brussels, 1839"
948:New International Encyclopedia
896:Symphony No. 1 in E-flat major
828:Member of the Academy of Rome.
221:Royal Conservatory of Brussels
1:
1645:Conservatoire de Paris alumni
1145:Cone, Edward T., ed. (1971).
942:"François-Joseph Fétis"
523:is devoted to explaining how
413:symphonies for the publisher
292:Méthode des méthodes de piano
211:, the first serious paper in
144:Pierre-François-Joseph Robert
1655:Prix de Rome for composition
1075:Damscrhroder, David (1990).
1007:UK public library membership
968:; Wangermée, Robert (2001).
532:principle" by Fétis, though
429:Lélio, ou le Retour à la vie
239:, including several musical
219:, he became director of the
1595:Belgian classical composers
1556:(public domain audiobooks)
473:Geschichte der Musiktheorie
1696:
769:Kingdom of the Netherlands
748:Master of the Royal Music.
712:(Paris and Brussels, 1844)
568:Unitonic – Resulting from
883:Flute Concerto in B minor
698:Traité du chant en choeur
205:. In 1827 he founded the
39:
1660:Royal Library of Belgium
971:"Fétis, François-Joseph"
185:Louis-Barthélémy Pradher
1620:Belgian music theorists
1615:Belgian music educators
1061:Encyclopædia Britannica
982:Oxford University Press
362:Jacques-Nicolas Lemmens
334:Juan Crisóstomo Arriaga
286:(Paris, 1850), and the
253:Jean-Baptiste Vuillaume
1056:Fétis, François Joseph
791:Order of the Red Eagle
773:Order of the Oak Crown
694:(Brussels, 1833–1844 )
443:
424:
407:
312:comparative musicology
111:, critic, teacher and
1635:Historicist composers
1610:Belgian music critics
1605:Belgian musicologists
751:Grand Officer in the
434:Symphonie Fantastique
432:, the 1832 sequel to
397:Symphonie Fantastique
96:François-Joseph Fétis
34:François-Joseph Fétis
858:String Quartet No. 2
855:String Quartet No. 1
670:(Paris: Petit, 1823)
650:Alessandro Scarlatti
645:Alessandro Stradella
519:The majority of the
475:by fifty years. The
324:His pupils included
861:Grand Sextet, Op. 5
771:: Commander in the
638:"Se i miei sospiri"
558:harmonic modulation
471:'s more well known
370:Charles-Marie Widor
1625:Romantic composers
977:Grove Music Online
787:Kingdom of Prussia
743:Kingdom of Belgium
358:Frantz Jehin-Prume
330:Jean-Delphin Alard
257:Antonio Stradivari
203:Paris Conservatory
127:Fétis was born in
46:Fétis in 1841, by
1545:Project Gutenberg
1455:(2nd edition) at
1276:10.1093/ml/gcn041
1264:Music and Letters
1005:(subscription or
920:Se i miei sospiri
807:: Officer of the
805:Kingdom of France
582:tonalité ancienne
417:, commented that
380:Fétis and Berlioz
308:Renaissance music
192:liturgical chants
181:Jean-Baptiste Rey
93:
92:
16:(Redirected from
1687:
1665:People from Mons
1561:
1560:
1396:
1377:Ellis, Katharine
1363:
1360:
1333:
1330:
1324:
1320:
1314:
1311:
1305:
1302:
1296:
1293:
1287:
1286:
1284:
1282:
1255:
1249:
1245:
1239:
1236:
1230:
1226:
1220:
1217:
1211:
1207:
1201:
1197:
1191:
1190:
1188:
1186:
1175:
1169:
1168:
1152:
1141:
1135:
1134:
1122:
1116:
1115:
1113:
1112:
1097:
1091:
1090:
1072:
1066:
1065:
1044:
1042:
1041:
1035:
1020:
1017:
1011:
1010:
1003:
973:
966:Ellis, Katharine
962:
952:
944:
910:Messe di Requiem
816:Academic Honours
809:Legion of Honour
803:
801:
800:
789:: Knight of the
785:
783:
782:
767:
765:
764:
753:Order of Leopold
741:
739:
738:
682:(Paris, 1827–35)
453:Theoretical work
354:Ferdinand Hérold
106:
101:
82:
64:
62:
48:Charles Baugniet
44:
30:
21:
1695:
1694:
1690:
1689:
1688:
1686:
1685:
1684:
1680:French scholars
1565:
1564:
1558:
1515:(supplement by
1425:
1423:Texts and books
1408:
1403:
1375:
1372:
1370:Further reading
1367:
1366:
1361:
1336:
1331:
1327:
1321:
1317:
1312:
1308:
1303:
1299:
1294:
1290:
1280:
1278:
1257:
1256:
1252:
1246:
1242:
1237:
1233:
1227:
1223:
1218:
1214:
1208:
1204:
1198:
1194:
1184:
1182:
1177:
1176:
1172:
1165:
1144:
1142:
1138:
1124:
1123:
1119:
1110:
1108:
1099:
1098:
1094:
1087:
1074:
1073:
1069:
1054:, ed. (1911). "
1050:
1039:
1037:
1036:
1023:
1018:
1014:
1004:
1000:
964:
963:
959:
935:
927:
917:
907:
891:
878:
868:
852:
847:
798:
796:
780:
778:
762:
760:
736:
734:
731:
658:
640:
550:
538:anthropological
509:Matthew Shirlaw
455:
382:
350:Julius Eichberg
269:François Tourte
169:
125:
104:[fetis]
99:
89:
84:
80:
71:
66:
60:
58:
50:
35:
28:
23:
22:
15:
12:
11:
5:
1693:
1691:
1683:
1682:
1677:
1675:Musical hoaxes
1672:
1670:Walloon people
1667:
1662:
1657:
1652:
1647:
1642:
1637:
1632:
1627:
1622:
1617:
1612:
1607:
1602:
1597:
1592:
1587:
1582:
1577:
1567:
1566:
1563:
1562:
1547:
1538:
1537:
1536:
1530:
1510:
1509:
1508:
1502:
1496:
1490:
1484:
1478:
1472:
1466:
1450:
1442:
1434:
1424:
1421:
1420:
1419:
1407:
1404:
1402:
1401:External links
1399:
1398:
1397:
1371:
1368:
1365:
1364:
1334:
1325:
1315:
1306:
1297:
1288:
1270:(4): 640–642.
1250:
1240:
1231:
1221:
1212:
1202:
1192:
1170:
1163:
1136:
1131:Revue musicale
1117:
1107:. 2 March 2016
1092:
1085:
1067:
1052:Chisholm, Hugh
1021:
1012:
998:
956:
955:
954:
953:
926:
923:
922:
921:
916:
913:
912:
911:
906:
903:
902:
901:
898:
890:
887:
886:
885:
877:
874:
873:
872:
867:
864:
863:
862:
859:
856:
851:
848:
846:
843:
842:
841:
838:
835:
832:
829:
826:
821:Member of the
818:
817:
813:
812:
794:
776:
758:
757:
756:
749:
730:
727:
726:
725:
719:
713:
707:
706:(Paris, 1840).
701:
695:
689:
683:
680:Revue musicale
677:
671:
665:
657:
654:
639:
636:
620:Revue musicale
615:
614:
603:
596:
585:
554:Traité complet
549:
546:
521:Traité complet
488:Paul Hindemith
454:
451:
391:Revue musicale
381:
378:
366:Adolphe Samuel
346:William Cusins
338:Friedrich Berr
317:Fétis died in
235:to the simple
208:Revue musicale
168:
165:
157:Revue Musicale
124:
121:
91:
90:
85:
83:(aged 87)
77:
73:
72:
67:
56:
52:
51:
45:
37:
36:
33:
26:
24:
14:
13:
10:
9:
6:
4:
3:
2:
1692:
1681:
1678:
1676:
1673:
1671:
1668:
1666:
1663:
1661:
1658:
1656:
1653:
1651:
1648:
1646:
1643:
1641:
1638:
1636:
1633:
1631:
1628:
1626:
1623:
1621:
1618:
1616:
1613:
1611:
1608:
1606:
1603:
1601:
1598:
1596:
1593:
1591:
1588:
1586:
1583:
1581:
1578:
1576:
1573:
1572:
1570:
1555:
1551:
1548:
1546:
1542:
1539:
1534:
1531:
1528:
1525:
1524:
1522:
1518:
1517:Arthur Pougin
1514:
1511:
1506:
1503:
1500:
1497:
1494:
1491:
1488:
1485:
1482:
1479:
1476:
1473:
1470:
1467:
1464:
1461:
1460:
1458:
1454:
1451:
1448:
1447:
1443:
1440:
1439:
1435:
1432:
1431:
1427:
1426:
1422:
1417:
1413:
1410:
1409:
1405:
1400:
1394:
1390:
1386:
1382:
1378:
1374:
1373:
1369:
1359:
1357:
1355:
1353:
1351:
1349:
1347:
1345:
1343:
1341:
1339:
1335:
1329:
1326:
1319:
1316:
1310:
1307:
1301:
1298:
1292:
1289:
1277:
1273:
1269:
1265:
1261:
1254:
1251:
1244:
1241:
1235:
1232:
1225:
1222:
1216:
1213:
1206:
1203:
1196:
1193:
1180:
1174:
1171:
1166:
1164:0-393-09926-1
1160:
1156:
1151:
1150:
1140:
1137:
1132:
1128:
1121:
1118:
1106:
1105:oudmigrations
1102:
1096:
1093:
1088:
1086:0-918728-99-1
1082:
1078:
1071:
1068:
1063:
1062:
1057:
1053:
1048:
1047:public domain
1034:
1032:
1030:
1028:
1026:
1022:
1016:
1013:
1008:
1001:
999:9781561592630
995:
991:
987:
983:
979:
978:
972:
967:
961:
958:
950:
949:
943:
938:
937:Gilman, D. C.
933:
932:public domain
929:
928:
924:
919:
918:
914:
909:
908:
904:
899:
897:
893:
892:
888:
884:
880:
879:
875:
870:
869:
865:
860:
857:
854:
853:
849:
844:
839:
836:
833:
830:
827:
824:
820:
819:
815:
814:
810:
806:
795:
792:
788:
777:
774:
770:
759:
754:
750:
747:
746:
744:
733:
732:
728:
723:
720:
718:(Paris, 1856)
717:
714:
711:
708:
705:
702:
700:(Paris, 1837)
699:
696:
693:
690:
687:
684:
681:
678:
675:
672:
669:
666:
664:(Paris, n.d.)
663:
660:
659:
655:
653:
651:
646:
637:
635:
633:
629:
625:
621:
612:
608:
604:
601:
597:
594:
590:
586:
583:
579:
575:
571:
567:
566:
565:
563:
559:
555:
547:
545:
541:
539:
535:
531:
526:
522:
517:
514:
510:
505:
501:
500:Musik-Lexicon
497:
493:
489:
485:
480:
478:
474:
470:
466:
465:
460:
452:
450:
448:
442:
437:
435:
431:
430:
423:
418:
416:
412:
406:
401:
399:
398:
393:
392:
387:
379:
377:
375:
371:
367:
363:
359:
355:
351:
347:
343:
342:Louise Bertin
339:
335:
331:
327:
322:
320:
315:
313:
309:
305:
299:
297:
293:
289:
285:
280:
276:
274:
270:
266:
262:
258:
254:
249:
246:
242:
238:
234:
230:
225:
222:
218:
214:
210:
209:
204:
199:
197:
193:
188:
186:
182:
178:
174:
166:
164:
161:
159:
158:
153:
152:Édouard Fétis
149:
145:
140:
138:
134:
130:
122:
120:
118:
114:
110:
105:
97:
88:
79:26 March 1871
78:
74:
70:
65:25 March 1784
57:
53:
49:
43:
38:
31:
19:
1521:Google Books
1512:
1457:Google Books
1452:
1445:
1437:
1429:
1384:
1380:
1328:
1318:
1309:
1300:
1291:
1279:. Retrieved
1267:
1263:
1253:
1243:
1234:
1224:
1215:
1205:
1195:
1183:. Retrieved
1173:
1148:
1139:
1130:
1120:
1109:. Retrieved
1104:
1095:
1076:
1070:
1059:
1015:
975:
960:
946:
845:Compositions
721:
715:
709:
703:
697:
691:
685:
679:
673:
667:
661:
656:Publications
641:
619:
616:
581:
561:
553:
551:
542:
530:Metaphysical
524:
520:
518:
512:
504:Hugo Riemann
499:
483:
481:
476:
472:
469:Hugo Riemann
462:
458:
456:
446:
444:
439:
433:
427:
425:
420:
408:
403:
395:
389:
383:
326:Luigi Agnesi
323:
316:
303:
300:
291:
287:
283:
281:
277:
272:
260:
250:
245:Fernando Sor
226:
206:
200:
195:
189:
170:
162:
155:
141:
126:
116:
109:musicologist
95:
94:
81:(1871-03-26)
1580:1871 deaths
1575:1784 births
1179:"Troupenas"
496:Franz Liszt
492:Ernst Kurth
148:Robespierre
1569:Categories
1210:conceive."
1143:See also
1111:2016-04-26
980:. Oxford:
925:References
570:plainchant
556:, that of
513:"tonalité"
61:1784-03-25
1387:: 63–78.
1009:required)
850:Ensembles
611:Meyerbeer
593:Montverdi
574:consonant
502:of 1882,
498:. In the
415:Troupenas
411:Beethoven
296:Moscheles
217:Leopold I
177:Boïeldieu
1554:LibriVox
1393:25486037
1323:399-420.
889:Symphony
876:Concerto
866:Overture
630:, where
534:Dahlhaus
525:tonalité
477:Esquisse
319:Brussels
304:changing
265:Guarneri
233:oratorio
231:and the
113:composer
87:Brussels
1418:(IMSLP)
1414:at the
1281:June 5,
1248:219-240
1185:1 March
1181:. IMSLP
1049::
934::
729:Honours
632:hemiola
589:Zarlino
578:tritone
386:Berlioz
372:. See:
237:chanson
133:Hainaut
100:French:
1533:Vol. 2
1527:Vol. 1
1505:Vol. 8
1499:Vol. 7
1493:Vol. 6
1487:Vol. 5
1481:Vol. 4
1475:Vol. 3
1469:Vol. 2
1463:Vol. 1
1406:Scores
1391:
1229:xxiii.
1161:
1083:
1043:
996:
894:1862:
881:1869:
802:
784:
766:
740:
628:Brahms
607:Wagner
600:Mozart
562:ordres
494:, and
368:, and
241:hoaxes
213:France
167:Career
123:Family
1519:) at
1446:Texts
1438:Books
1430:Books
1389:JSTOR
1200:xxii.
915:Songs
624:Liszt
229:opera
173:Paris
1283:2022
1187:2020
1159:ISBN
1081:ISBN
994:ISBN
905:Mass
591:and
183:and
129:Mons
76:Died
69:Mons
55:Born
1552:at
1543:at
1272:doi
1155:217
1058:".
986:doi
273:oud
1571::
1523::
1459::
1385:62
1383:.
1337:^
1268:89
1266:.
1262:.
1157:.
1129:.
1103:.
1024:^
992:.
984:.
974:.
945:.
745::
564::
490:,
436::
400::
376:.
364:,
360:,
356:,
352:,
348:,
344:,
340:,
336:,
332:,
328:,
314:.
298:.
275:.
187:.
179:,
131:,
1395:.
1285:.
1274::
1189:.
1167:.
1114:.
1089:.
1002:.
988::
825:.
811:.
793:.
775:.
755:.
613:.
584:.
259:(
98:(
63:)
59:(
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
