prolific scholar and pioneer scientific investigator of music history and theory. He was also an organist and composer.

As a child Fétis played violin, piano, and organ; he produced a violin concerto at age nine. He entered the Paris Conservatory in 1800 and in 1803 went to Vienna to continue his musical studies. Fétis married into a wealthy family in 1806 and then began his long study of Roman Catholic chant and liturgy. Following the loss of the family fortune in 1811, he devoted himself to theoretical research and composition, becoming a professor at the Paris Conservatory in 1821. From then on he produced a stream of scholarly writings and method books, including the classic Traité du contrepoint et de la fugue (1825; “Treatise on Counterpoint and Fugue”) and pieces in the journal La Revue Musicale (1827–35), which he founded and edited. He was appointed conservatory librarian in 1827 and in 1832 initiated a concert-lecture series devoted to older music. In 1833 Fétis became chapelmaster to Leopold I of Belgium and director of the Brussels Conservatory. He was made a member of the Belgian Royal Academy in 1845. After his death his important library passed to the Royal Library of Brussels, where it remains.

None of Fétis' operas, church and chamber music, or orchestral and piano works is now performed; rather, he is remembered for his writings. Of lasting importance is his eight-volume Biographie universelle des musiciens . . . (1835–44; “Universal Biography of Musicians”), which, although marred by numerous inaccuracies, remains an invaluable research tool. He also wrote extensively on musical instruments and music history and theory. Despite his sometimes fanciful or unsupported facts and opinions, Fétis' scientific approach to music was an important influence on succeeding generations of scholars.