Faà di Bruno, Giovanni Matteo [Horatio, Orazio] Fabbri, Anna Maria
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- Forte, Allen
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Forsyth, W(esley) O(ctavius)(b Markham Township, ON, 26 Jan 1859; d Toronto, 7 May 1937). Canadian pianist. He began musical studies in Toronto with Edward Fisher and from 1886 to 1889 studied in Leipzig with Bruno Zwintscher, Richard Hoffman, Martin Krause and Salomon Jadassohn. He returned to Toronto and joined the piano faculty of the Toronto College of Music. In 1891 he went to the college of music at Hamilton, Ontario, but moved to the Toronto Conservatory in 1893. From 1895 to 1912 he was head of the new Metropolitan School of Music. He taught the piano for several other institutions in Toronto until in 1924 the amalgamation of some of these took him back into the Toronto Conservatory, where he remained until his death. He was a frequent lecturer and critic, and contributed regularly to publications in Canada and the USA. He composed many songs and piano pieces. His style was conservative but he had a fine sense of the piano and a gift for writing attractive melodies. Forsyth was an outstanding piano teacher with a national and even international reputation. BIBLIOGRAPHYE. Keillor: ‘Wesley Octavius Forsyth, 1859–1937’, The Canada Music Book, no.7 (1973), 101–21 CARL MOREY Forte(It.: ‘loud’, ‘strong’). A performance instruction often abbreviated For. or F in the 18th century and customarily notated f in modern editions. Its superlative fortissimo (‘very loud’) was abbreviated Fortiss., ffmo and FF in the 18th century. Brossard (1703), however, categorically stated that the correct abbreviation for fortissimo was fff and that ff stood for più forte (‘louder’), and many 18th-century theorists agreed with him. The extremes of ffff and fffff are more or less confined to the last years of the 19th century. The introduction of forte in Giovanni Gabrieli's Sonata pian e forte (1597) was the model for the manner of its use over the next century: piano was primarily an echo effect, and forte in the great majority of its early uses was merely an instruction to return to the normal dynamic. As late as 1802 H.C. Koch could state that in the absence of any instruction a movement should be assumed to begin loudly and that the subject of a fugue should normally be played forte. In 1768 Rousseau had written that the French needed no superlative equivalent to the Italian fortissimo because they always sang as loudly as possible anyway. But Printz (1668) had represented a more flexible viewpoint: he asserted that the normal dynamic was frequentato but that this was used only after a forte section to denote a return to normal; his view is endorsed by J.F.B.C. Mayer's definition of frequentato (Museum musicum, Schwäbisch Hall, 1732) as ‘nicht zu leise und nicht zu stark’ and by Walther (also 1732), who gave it as ‘mit rechtmässiger Stimme, wie man insgemein zu singen pflegt’. Leopold Mozart (Violinschule, 1756) wrote that ‘whenever a forte is written the tone is to be used with moderation, without foolish scrapings, especially in the accompaniment of a solo part’. In the mid-20th century attempts at serial treatment of dynamics assumed a more precise absolute, and relative, level (implied by f, p, etc.) than was the case. For bibliography see Tempo and expression marks. DAVID FALLOWS
Forte's theoretical writings range from Tonal Harmony, a textbook on the underlying principles of harmonic practice, to analyses of the music of Webern. Much of his work shows the influence of Schenkerian theory. More recently he has investigated the uses of set theory and computer technology in the analysis of atonal music. His interests also include the music of the 18th and 19th centuries, and American popular song. See also Analysis, §II, 6. WRITINGSContemporary Tone-Structures (New York, 1955) ‘Schenker's Conception of Musical Structure’, JMT, iii (1959), 1–30 The Compositional Matrix (New York, 1961/R) Tonal Harmony in Concept and Practice (New York, 1962, 3/1979) The Structure of Atonal Music (New Haven, CT, 1973) The Harmonic Organization of The Rite of Spring (New Haven, CT, 1978) ‘Schoenberg's Creative Evolution: the Path to Atonality’, MQ, lxiv (1978), 133–76 ‘Generative Chromaticism in Mozart's Music’, MQ, lxvi (1980), 459–83
‘Middleground Motives in the Adagietto of Mahler's Fifth Symphony’, 19CM, viii (1984–5), 153–63 ‘Tonality, Symbol, and Structural Levels in Berg's Wozzeck’, MQ, lxxi (1985), 474–99 ‘Liszt's Experimental Music and Music of the Early Twentieth Century’, 19CM, x (1986–7), 209–28; repr. as ‘Liszt's Experimental Idiom and Twentieth-Century Music’, Music at the Turn of the Century, ed. J. Kerman (Berkeley, 1990), 93–114 ‘New Approaches to the Linear Analysis of Music’, JAMS, xli (1988), 315–48 ‘Pitch-Class Set Genera and the Origin of Modern Harmonic Species’, JMT, xxxii (1988), 187–270 ‘Musorgsky as Modernist: the Phantasmic Episode from Boris Godunov’, MAn, ix (1990), 1–42 ‘Debussy and the Octatonic’, MAn, x (1991), 125–69 ‘The Mask of Tonality: Alban Berg's Symphonic Epilogue to Wozzeck’, Alban Berg: Analytical and Historical Perspectives, ed. D. Gable and R.P. Morgan (Oxford, 1991), 151–200 ‘Concepts of Linearity in Schoenberg's Atonal Music: a Study of the Opus 15 Song Cycle’, JMT, xxxvi (1992), 285–382 ‘Foreground Rhythm in Early Twentieth-Century Music’, Early Twentieth-Century Music, ed. J. Dunsby (Oxford, 1993), 132–47
‘The Golden Thread: Octatonic Music in Webern's Early Songs’, Webern Studies, ed. K. Bailey (Cambridge, 1996), 74–110 The Atonal Music of Anton Webern (New Haven, CT, 1997) PAULA MORGAN Directory: download -> 3062a7ba-8b89-4266-8568-82026f790e50 -> Bibliografia%20Básica download -> Northern England’s set-jetting locations download -> Bbc archives: Beyond the programme download download -> Occupational health and safety download -> Dynatest 3031 lwd light Weight Deflectometer download -> Forth coming competitive exams download -> English Olympiad Tasks: 10 th form Аудіювання, 10 клас. Текст download -> Brush High School Morning Announcements Friday, September 05, 2014 all school download -> Year 9 The Arts — Music download -> Years 7 and 8 standard elaborations — Australian Curriculum: Music draft Bibliografia%20Básica -> Oakeley, Sir Herbert (Stanley) Download 19.1 Mb. Share with your friends:
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