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rfz is seen a fair bit in the music of Elgar. The difference between rfz and sfz is that sfz is a more percussive hit. rfz was once described to me as like squeezing toothpaste out of a tube - it is played with much less attack than sfz, though equally strongly. (Of course, on percussive instruments like the piano you cannot make the distinction.)
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Looking at the translations from Italian, I would say ritardando "holds back" the tempo to build tension and rallentando slows the music to a conclusion (decelerate, die down). I have noticed that rall. appears at the end of pieces or sections, where rit. appears before a tempo in the middle of a phrase or section. Examples: 1.
Indeed, you'd usually refer to music that accentuates the off-beats as being "[highly] syncopated', not upbeat. An aside on the technical definition of upbeat. Especially in classical music the "upbeat" refers to what the conductor is doing. Here's a diagram of the conductor's hand motions for 4/4 time, with the upbeat highlighted:
The most simple, basic definition of tonality is the relationship between pitches. All music, with the exception of atonal, twelve tone and perhaps polytonal music display some degree of tonality. Medieval music has tonal center and often resolves on the parent tone of a given mode, what was referred to as the final.
It gets more complicated. The term 'refrain' comes from a time when poems were routinely set to music, and it is more appropriately left for the discussion of Classical and Romantic songs. At the turn of the nineteenth century, a popular or 'parlour' song was likely to have a verse and a chorus (or according to some old sheet music, the refrain).
Does anyone know what does the "feat." mean exactly? Some song titles have the word "feat" in it, for example "I wanna love you clean Akon feat. Snoop dog". What does "feat." mean?
Reading books on orchestration is like trying to learn a language by reading a dictionary. Reading scores and listening to good recordings is probably the second best way to learn - especially if you enter the music into a notation program and compare the playback you get with the live version. For the specifics in your question:
Schumann uses mostly sf in his piano music, but he sometimes uses sfz in the same score—and even in the same passage: Novelletten, Op.21 n.1 (Henle) (The sfz was apparently restored in the Henle urtext; I see sf in some early editions, including that by Clara Schumann.)
According to The Harvard Dictionary of Music: Ambitus. The range of pitches employed in a melody or voice. Range. The span of pitches between highest and lowest of an instrument, voice, or part; also compass. See also Tessitura. Register. A specific segment of the total range of pitches available to a voice, instrument, or composition.