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Preface

Published online by Cambridge University Press:  17 September 2020

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Summary

It is a great pleasure to write here briefly about my friend and colleague Lewis Lockwood, for whom, on the occasion of his ninetieth birthday, this book was conceived, planned, organized, edited, and produced over the last many years, and to whom it is dedicated. I have known Lewis since 1982, when he was at Harvard, and I arrived to take up a position at Boston University. Since then our paths have become much closer. While I was serving as chair of the Musicology and Ethnomusicology Department, I invited Lewis—after his retirement from Harvard—to assume the honorary position of Distinguished Senior Scholar at Boston University, a position he graciously accepted. He taught seminars for us and advised graduate students, and in 2014 he and I founded the Boston University Center for Beethoven Research, for which he continues to serve as Co-Director.

A formal review of his life so far would include the following facts. He was born on what was most probably the same day as Beethoven's birthday in 1930 and educated at the High School of Music and Art in New York City, where he studied the cello, an instrument that he still plays and for which he has a special fondness. He attended Queens College as an undergraduate and studied with one of the best-known scholars of Renaissance music, Edward Lowinsky. For graduate school he also had as teachers the leading lights of musicology at Princeton University—legends in the field, such as Arthur Mendel, Nino Pirrotta, and Oliver Strunk—and completed his dissertation on the sixteenth-century composer, Vincenzo Ruffo. (This was later published as The Counter-Reformation and the Masses of Vincenzo Ruffo [1970]). He played with the Seventh Army Symphony, also known as “Uncle Sam's Orchestra,” overseas for a year and a half during the mid-1950s and then returned to the United States to take up his own appointment at Princeton, where he taught from 1958 to 1980. He edited the Journal of the American Musicological Society from 1964 to 1967 and served as president of the American Musicological Society from 1987 to 1988. In 1980 he was appointed to the Department of Music at Harvard University, where he was later named Fanny Peabody Research Professor. He was appointed an emeritus professor in 2002.

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The New Beethoven
Evolution, Analysis, Interpretation
, pp. xi - xiv
Publisher: Boydell & Brewer
Print publication year: 2020

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  • Preface
  • Edited by Jeremy Yudkin
  • Book: The New Beethoven
  • Online publication: 17 September 2020
  • Chapter DOI: https://doi.org/10.1017/9781787448124.001
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  • Preface
  • Edited by Jeremy Yudkin
  • Book: The New Beethoven
  • Online publication: 17 September 2020
  • Chapter DOI: https://doi.org/10.1017/9781787448124.001
Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

  • Preface
  • Edited by Jeremy Yudkin
  • Book: The New Beethoven
  • Online publication: 17 September 2020
  • Chapter DOI: https://doi.org/10.1017/9781787448124.001
Available formats
×