Today, Oscar Sonneck is a topic of great relevance and that arouses the interest of a wide spectrum of the population. Since its emergence, Oscar Sonneck has been the subject of debate and analysis in various areas, generating conflicting opinions and conflicting positions. Over the years, Oscar Sonneck has evolved and taken different forms, which has made its study and understanding even more complex. In this article, we will explore different approaches and perspectives on Oscar Sonneck, with the aim of shedding light on this topic and fostering a rich debate.
Oscar Sonneck | |
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![]() Oscar Sonneck en 1914. | |
Born | 6 October 1873 ![]() Jersey City ![]() |
Died | 30 October 1928 ![]() |
Occupation | Librarian ![]() |
Oscar George Theodore Sonneck (October 6, 1873 – October 30, 1928) was a U.S. librarian, editor, and musicologist.
Sonneck was born in Jersey City. He studied philosophy and musicology in Germany at the universities of Heidelberg and Munich.
From 1902 to 1917, he was head of the music division of the Library of Congress, and as such created a significant music library. Since 1915, he was also editor of The Musical Quarterly. As a writer, he specialized in the history of early (before the 19th century) American music. He died in New York City, aged 55.
The Society for American Music was created in his honor, and initially named after him.
As a writer, he specialized in the history of American music, and his publications laid the foundation for the scholarly study of music in the U.S.[1] Sonneck understood how important a bibliographical basis was for making musical studies. As a documentary historian, bibliographer, cataloguer, editor and critic, Oscar Sonneck is recognized as the first scholar of early music in America.[2]
From 1918, he was honorary librarian of the New York Beethoven Association. The collection of Beethoveniana he built up came to the New York Public Library in 1940.[3]
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