Essays on Music in Honor of Archibald Thompson Davison

Essays on Music in Honor of Archibald Thompson Davison

Essays on Music in Honor of Archibald Thompson Davison

Essays on Music in Honor of Archibald Thompson Davison

Excerpt

Archibald Thompson Davison became Professor Emeritus of Music at Harvard at the close of the academic year 1953-1954, He had taught there for forty-one years with undiminished vigor. On October 11, 1953, his seventieth birthday was celebrated. This volume of essays was written in homage to him on that occasion.

The year before, the Music Department had undertaken to sponsor such a volume and invitations had been sent out for the voluntary contribution of essays. It was not easy to decide which among Dr Davison's friends might most appropriately be asked to contribute. In the end, to keep the volume to reasonable size, the list had to be confined to his past and present musical colleagues at Harvard and to those who had received advanced degrees under his instruction. A few who were invited were prevented by circumstances from accepting. Many more would gladly have contributed. Those who were able to contribute have done so con amore.

The authors were given complete freedom in the choice of subject. The wide variety of topics chosen and of periods of musical history treated is testimony to the breadth of Dr Davison's taste and to the sweep of his interests. With regard to those of the authors who studied under him, the marked variety of treatment testifies also to the freedom of his teaching and to his assiduous avoidance of anything approaching Procrustean methodology in musicological matters.

The variety of topics which the authors chose made it not altogether easy to determine the order in which the essays might best be arranged. The chronological grouping by principal epochs seemed logical and convenient. This arrangement of the essays also shows that, while certain epochs have received more attention than others, many important phases of musical history are touched upon.

To ensure all possible accuracy, both the texts of the essays and the musical examples accompanying them were resubmitted to the . . .

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