L ' Africaine was eventually premiered after Meyerbeer's death at the Salle Le Peletier on 28 April 1865 in a performing edition undertaken by François-Joseph Fétis.

Nineteenth-century musicologist François-Joseph Fétis claimed to have seen a sixteenth-century copy of a Tractatus de musica mensurata et de proportionibus by Dufay, last seen in a bookshop in London in 1824.

Assembled from individual articles that Fétis published in the Revue et Gazette musicale de Paris around 1840, the book predates Hugo Riemann ’ s more well known Geschichte der Musiktheorie by fifty years.

Fétis ’ main theoretical work and the culmination of his conceptual frameworks of tonality and harmony is the Traité complet de la théorie et de la pratique de l ’ harmonie of 1844.

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François-Joseph Fétis has called him " le Beethoven de la guitare ", though he has also remarked the Sor had failed to produce a good tone on one occasion.

* François-Joseph Fétis, Biographie universelle des musiciens et bibliographie générale de la musique.

:: Divertissements attributed to de Bury, cited by Fétis:

He was a pupil of Belgian composer Charles Auguste de Bériot, studied composition under François-Joseph Fétis, and studied violin under Lambert Joseph Meerts.

In the Revue et Gazette musicale of May 9, 1841, an essay by Fétis appeared, ' Etudes d ' exécution transcendente ', in which Liszt was praised for a new composing style which had been stimulated by Thalberg's challenge.

Thalberg et Liszt "' in the Revue et Gazette musicale of April 23, 1837, Fétis claimed that Thalberg had created a new piano-style by uniting two different schools.

He went on to criticize Fétis in one of the monologues of Lélio, ou le Retour é la vie, the 1832 sequel to Symphonie Fantastique: “ 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 ; 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.

An example of another journal of the same time is the Revue musicale, which thrived on personal attacks, many against Berlioz himself from the pen of critic François-Joseph Fétis.

* François-Joseph Fétis, musicologist, composer, critic, and teacher ( 18th century )

Born in London, Cusins entered the Chapel Royal in his tenth year and studied music in Brussels under François-Joseph Fétis and later at the Royal Academy of Music ( RAM ) in London, under Cipriani Potter, William Sterndale Bennett, Charles Lucas and Prosper Sainton.

François-Joseph Fétis ( 25 March 1784 – 26 March 1871 ) was a Belgian musicologist, composer, critic and teacher.

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He then studied the violin under Pierre Baillot, and counterpoint and harmony under François-Joseph Fétis at the Paris Conservatoire.

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Another legend about Cambini, circulated by François-Joseph Fétis, claimed that Cambini and his fiancée had been kidnapped by Barbary pirates and ransomed by a music-lover.

While there, he also took musical theory with François-Joseph Fétis ( who later edited the periodical La Revue Musicale ).

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 Revue musicale and in some lectures which had a profound impact on Liszt.

* historical source Revue musicale ; by F. J. Fétis ; 1827

At one point, Robert Schumann was motivated to publish a detailed rebuttal of one of Fétis ' attacks on Berlioz's Symphonie fantastique in his own Neue Zeitschrift für Musik journal.

Fétis would later contribute to the debasement of the reputation of the Gazette when his journal failed and was absorbed by the Gazette, he found himself on the editorial board.

Early dictionary writers, such as Fétis, saw Campion as a theorist.

* March 26-François-Joseph Fétis, composer and musicologist ( b. 1784 )

Fétis remained in the French capital till 1833, when at the request of Leopold I, he became director of the conservatory of Brussels and the king ’ s chapelmaster.

Thus Fétis built the foundation for what would later be termed comparative musicology.

Fétis died in Brussels.

Berlioz, who had proof-read Fétis ’ editions of the first eight Beethoven symphonies for the publisher Troupenas, commented that “ had altered Beethoven ’ s harmonies 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 Beethoven could not possibly fail to be in entire agreement with the harmonic theories of M. Fétis .” Troupenas did in fact remove Fétis ’ editorial marks, but Berlioz was still unsatisfied.

Not one to be outdone, Fétis may have had the last word in this debate.

Although known primarily for his contributions to musicology and criticism, Fétis had effects on the realm of music theory as well.