Daniel Albright (October 29, 1945 – January 3, 2015) was the Ernest Bernbaum Professor of Literature at Harvard and the editor of Modernism and Music: An Anthology of Sources. He was born and grew up in Chicago, Illinois and completed his undergraduate studies on a full scholarship at Rice in 1967. He received his MPhil in 1969 and PhD in 1970, both from Yale. Albright is also the author of the book Quantum Poetics which was published by Cambridge University Press in 1997. He held an NEH fellowship from 1973 to 1974, was a Guggenheim Fellow from 1976 to 1977, and more recently, he was a 2012 Berlin Prize Fellow at the American Academy in Berlin.

Albright began his undergraduate career as a mathematics major, but changed to English literature. Although trained at Yale as a literary critic, after the publication of his book Representation and the Imagination: Beckett, Kafka, Nabokov, and Schoenberg, he was invited by the University of Rochester to come teach there as a kind of liaison between the department of English and the Eastman School of Music. At Rochester, he studied musicology, which forever changed his career. Much of his subsequent work has been on literature and music, culminating with his 2014 book, Panaesthetics which addresses many arts and examines to what extent the arts are many or are one. Putting Modernism Together was released posthumously, by Johns Hopkins University Press, and Music's Monism in fall 2021 from the University of Chicago Press. He was hired in 2003 in the Harvard departments of English, but later joined the Comparative Literature department and soon began offering courses in the Music department as well.

While Albright's interests and writing subjects were wide-ranging, he received acclaim in three principal areas: as a scholarly commenter on poetry, in particular the poems of W. B. Yeats; as a musicologist; and as a theorist of multidisciplinary interpretation he termed "panaesthetics." The sections below discuss these career phases in more detail.

Albright's advisor at Yale was Richard Ellmann, author of Yeats, The Man and the Masks (1948), a pivotal Yeats biography, and The Identity of Yeats (1953), a book-length analysis of the poet's style and themes. Albright wrote of Ellman: "A conversation about a poem of Yeats' with Richard Ellmann was like a stroll through a forest with an agreeable companion who not only knows the names of every bird, bush, lichen, and bug, but also hears sounds usually audible only to bats." Albright's scholarship continues Ellmann's biographical reading of Yeats, a complex endeavor, since Yeats reflected on his life indirectly in his poems, mainly through symbols and personae. Only gradually did Yeats allow a real person, with real problems and anxieties, to emerge.

In The Identity of Yeats, Ellman notes that beginning in the 1910s, Yeats' poems became "openly autobiographical, the creation of a man capable of living in the world as well as of contemplating perfection. To make it so, he would have to lead his life in such a way that it was capable of being converted into a symbol. Moreover, he could depict the speaker of his poems in a wider variety of situations, intellectual as well as emotional." Rather than speaking through fictional characters such as Michael Robartes and Owen Aherne, Yeats made himself a primary actor, with a somewhat rigid code of self-imposed rules designed to prevent "poetry where momentary emotions would over-bubble."

Albright's criticism reads Yeats against Yeats, not to reduce the poems to biographical explanations but to understand them as symbolic manifestations of the poet (both real and idealized) at different stages of his career. Albright's first book, The Myth against Myth: A Study of Yeats's Imagination in Old Age, for example, discusses how Yeats' later "realist" poems such as "News for the Delphic Oracle" and "The Circus Animals' Desertion" re-interpret themes and images of earlier, more self-consciously mythic works such as "The Wanderings of Oisin."

Disagreeing with some of the book's readings, Frank Kinahan's review in Modern Philology concludes with strong praise: "Albright is a close and sensitive reader of poetry, and there are exegeses here leaving you nodding Yes till your neck aches." Kinahan concludes: "The years to come will show us that Yeats in his twenties and thirties was always on the verge of becoming the realist that an older Yeats became. And it is work like Albright's that is helping to bring that realization about."

In 1985, Albright published a review in The New York Review of Books of the Richard Finneran-edited Collected Poems of W. B. Yeats, a comprehensive 1983 volume based on the Macmillan Publishers edition. Echoing criticisms of Yeats scholar Norman Jeffares, Albright took Finneran to task for preserving Macmillan's ordering of the poems, in particular placing that long but seminal early poem "The Wanderings of Oisin" at the end of the book. This was originally done by Macmillan in the 1930s for commercial reasons: the publisher felt that prospective buyers, browsing in bookstores, might be put off by a long poem at the beginning. Albright made the case for a pure chronological ordering of the poems, especially since "Oisin"'s themes reverberate throughout the later work. Albright also criticized Finneran's reluctance to use biographical interpretations in his scholarly glosses: