
doi: 10.31751/1010
handle: 11353/10.1063900
Georg Andreas Sorge, 18. Jahrhundert, 18th century, Music and books on Music, Satzmodelle, basse fondamentale, Sorge-Marpurg Kontroverse, reception of Rameau, deutsche Musiktheorie, M, Jean-Philippe Rameau; Satzmodelle; basse fondamentale; Johann David Heinichen; Rameaurezeption; reception of Rameau; Sorge-Marpurg Kontroverse; Sorge-Marpurg-controversy; German music theory; deutsche Musiktheorie; 18. Jahrhundert; 18th century; Georg Andreas Sorge, Sorge-Marpurg-controversy, Jean-Philippe Rameau, Johann David Heinichen, Rameaurezeption, German music theory
Georg Andreas Sorge, 18. Jahrhundert, 18th century, Music and books on Music, Satzmodelle, basse fondamentale, Sorge-Marpurg Kontroverse, reception of Rameau, deutsche Musiktheorie, M, Jean-Philippe Rameau; Satzmodelle; basse fondamentale; Johann David Heinichen; Rameaurezeption; reception of Rameau; Sorge-Marpurg Kontroverse; Sorge-Marpurg-controversy; German music theory; deutsche Musiktheorie; 18. Jahrhundert; 18th century; Georg Andreas Sorge, Sorge-Marpurg-controversy, Jean-Philippe Rameau, Johann David Heinichen, Rameaurezeption, German music theory
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