Friedrich Wilhelm Marpurg, Georg Andreas Sorge and the Debate over ‘Chords by Supposition’

Peer-reviewed

Katarzyna Korpanty


Institute of Art, Polish Academy of Sciences (Poland)
https://orcid.org/0000-0003-2274-5575

Abstract

Georg Andreas Sorge and Friedrich Wilhelm Marpurg rank among the eighteenth century’s most important music theorists. A dispute flared up between them in 1759, concerning aspects of music harmony. At the centre of their polemic was the concept of supposition, formulated by Jean Philippe Rameau and taken up by Marpurg, which postulated expanding the seventh chord by adding notes below the root.



Keywords:

Friedrich Wilhelm Marpurg, Georg Andreas Sorge, theory of harmony in the 18th century, chords by supposition (fr. accords par supposition), Jean Philippe Rameau

Aleksandrowicz, Miłosz. Teoria harmonii Jeana Ph. Rameau: Traité de l’harmonie (1722), Nouveau systême de musique theorique (1726). Lublin: Wydawnictwo KUL, 2014.
  Google Scholar

Aleksandrowicz, Miłosz. Wielkie motety J.Ph. Rameau w świetle jego Traktatu o harmonii (1722). Studium hermeneutyczno-muzyczne. Dysertacja doktorska, Katolicki Uniwersytet Lubelski Jana Pawła II, 2006.
  Google Scholar

Benary, Peter. Die deutsche Kompositionslehre des 18. Jahrhunderts. Leipzig: VEB Breitkopf & Härtel Musikverlag, 1961.
  Google Scholar

Bernard, Jonathan W. „The Marpurg-Sorge Controversy”. Music Theory Spectrum 11, nr 2 (1989): 164–186.
  Google Scholar

Buelow, George J. „Sorge, Georg Andreas”. W: The New Grove Dictionary of Music and Musicians, red. Stanley Sadie. T. 23, 743–745. London: Oxford University Press, 2001.
  Google Scholar

Der Briefwechsel zwischen Goethe und (Karl Friedrich) Zelter. T. 2, 1819–1827, red. Max Hecker. Leipzig: Insel-Verlag, 1915.
  Google Scholar

Burney, Charles. Obecny stan muzyki w Niemczech, Niderlandach i Zjednoczonych Prowincjach albo dziennik podróży przez owe kraje, podjętej celem zebrania materiałów dla „Powszechnej historii muzyki”, przekł. Jakub Chachulski. Warszawa: Muzeum Pałac w Wilanowie, 2018.
  Google Scholar

Cohen, Albert. „La Supposition and the Changing Concept of Dissonance in Baroque Theory”. Journal of the American Musicological Society 24, nr 1 (1971): 63–84.
  Google Scholar

Dahlhaus, Carl. Die Musiktheorie im 18. und 19. Jahrhundert. Cz. 1. Darmstadt: Wissenschaftliche Buchgesellschaft, 1984.
  Google Scholar

Dahlhaus, Carl. Untersuchungen über die Entstehung der harmonischen Tonalität. Kassel: Bärenreiter, 1968.
  Google Scholar

Grant, Cecil Powell. „The Real Relationship between Kirnberger’s and Rameau’s «Concept of Fundamental Bass»”. Journal of Music Theory 21, nr 2 (1977): 324–338.
  Google Scholar

Holtmeier, Ludwig. „Plagiat! Die deutsche Rameau-Rezeption und die Marpurg-Sorge-Kontroverse”. W: Friedrich Wilhelm Marpurg. Musiktheoretiker, Komponist und Publizist in der Zeit der Aufklärung, red. Kathrin Eberl-Ruf, Carsten Lange, 125–134. Beeskow: Ortus Musikverlag, 2020.
  Google Scholar

Holtmeier, Ludwig. Rameaus langer Schatten. Studien zur deutschen Musiktheorie des 18. Jahrhunderts. Hildesheim: Olms, 2017.
  Google Scholar

Jarzębska, Alicja. Z dziejów myśli o muzyce. Kraków: Musica Iagellonica, 2002.
  Google Scholar

Jean Philippe Rameau: Traktat o harmonii (1722), księga III Zasady kompozycji, księga IV Zasady akompaniamentu, przekł., opr. i komentarz muzykologiczny Miłosz Aleksandrowicz. Lublin: Wydawnictwo KUL, 2022.
  Google Scholar

Jung, Hans Rudolf, Hans-Eberhard Dentler. „Briefe von Lorenz Mizler und Zeitgenossen an Meinrad Spiess”. Studi Musicali 32, nr 1 (2003): 73–196.
  Google Scholar

Korpanty, Katarzyna. „Friedrich Wilhelm Marpurg, Johann Friedrich Agricola i spór o wyż- szość muzyki francuskiej nad włoską lub odwrotnie”. W: Selva musicologica. Księga pamiątkowa dedykowana Profesor Zofii Dobrzańskiej-Fabiańskiej w 70. rocznicę urodzin, red. Jakub Kubieniec, Piotr Wilk, 335–347. Kraków: Musica Iagellonica, 2024.
  Google Scholar

Lester, Joel. Compositional Theory in the Eighteenth Century. Cambridge: Harvard University Press, 1992.
  Google Scholar

Lütteken, Laurenz. „Marpurg, Friedrich Wilhelm”. W: Die Musik in Geschichte und Gegenwart. Personenteil. T. 11, 1125–1131. Kassel: Bärenreiter, 2004.
  Google Scholar

Martin, Nathan John. „Rameau’s Changing Views on Supposition and Suspension”. Journal of Music Theory 56, nr 2 (2012): 121–167. doi.org/10.1215/00222909-1650397.
  Google Scholar

Mekeel, Joyce. „The Harmonic Theories of Kirnberger and Marpurg”. Journal of Music Theory 4, nr 2 (1960): 169–193.
  Google Scholar

Oefner, Claus. „Sorge, Georg Andreas”. W: Die Musik in Geschichte und Gegenwart. Personenteil. T. 15, 1079–1081. Kassel: Bärenreiter, 2004.
  Google Scholar

Serwer, Howard J. „Marpurg versus Kirnberger. Theories of Fugal Composition”. Journal of Music Theory 14, nr 2 (1970): 209–236.
  Google Scholar

Serwer, Howard. „Marpurg, Friedrich Wilhelm”. W: The New Grove Dictionary of Music and Musicians, red. Stanley Sadie. T. 15, 880 882. London: Oxford University Press, 2001. Sheldon, David A. „The Ninth Chord in German Theory”. Journal of Music Theory 26, nr 1 (1982): 61–100.
  Google Scholar

Telemann, Georg Philipp. Briefwechsel, red. Hans Grosse, Hans Rudolf Jung. Leipzig: VEB Deutscher Verlag für Musik, 1972.
  Google Scholar

Waldura, Markus. Von Rameau und Riepel zu Koch. Zum Zusammenhang zwischen theoretischem Ansatz, Kadenzlehre und Periodenbegriff in der Musiktheorie des 18. Jahrhunderts. Hildesheim: Olms, 2002.
  Google Scholar


Published
2025-12-31

Cited by

Korpanty, K. (2025). Friedrich Wilhelm Marpurg, Georg Andreas Sorge and the Debate over ‘Chords by Supposition’. Muzyka, 70(4), 73–92. https://doi.org/10.36744/m.4693

Authors

Katarzyna Korpanty 

Institute of Art, Polish Academy of Sciences Poland
https://orcid.org/0000-0003-2274-5575

Statistics

Abstract views: 0
PDF downloads: 0


License

Copyright (c) 2025 Katarzyna Korpanty

Creative Commons License

This work is licensed under a Creative Commons Attribution 4.0 International License.

The author grants the publisher a royalty-free nonexclusive licence (CC BY 4.0) to use the article in Muzyka, retains full copyright, and agrees to identify the work as first having been published in "Muzyka" should it be published or used again (download licence agreement). By submitting an article the author agrees to make it available under CC BY 4.0 license.

Articles from 2018/1 to 2022/3 were published under a Creative Commons license CC BY-NC-ND 4.0. During this period the authors granted the publisher a royalty-free nonexclusive license (CC BY-ND 4.0) to use their article in "Muzyka", retained full copyright, and agreed to identify the work as first having been published in our journal should it be published or used again.