418 Baird Hall
PhD, City University of New York
Brian Moseley is a music theorist and analyst whose work is concerned with the ways that composers coherently and expressively organize musical space. His work is centered on music composed in the twentieth- and twenty-first centuries, including Western art music and popular music. He has also presented and published on sketch study, issues of rhythm in the history of music theory, and Mahler's music. At UB, he teaches courses in post-tonal theory and analysis, transformation theory, popular music, Schenkerian analysis, and the history of music theory.
Brian's work has been especially centered on map-like, spatial representations of twentieth-century music and music theories. Much of his research acts as a kind of musical "cartography," where creatively designed musical maps representing a compositional environment provide a "stage" upon which analytical "performances" take place. His dissertation, "Twelve-tone Cartography," which received a dissertation award from the City University of New York, uses these spaces to illuminate ways that Anton Webern's music expressively engages common-practice formal traditions. Brian has also published and presented work on the music of George Crumb, Kaija Saariaho, John Harrison, and William Bolcom.
In addition, Brian is the co-author of Open Music Theory, an open-source, interactive, online "text"book for college-level music theory courses, and he is an advocate for student-centered approaches to pedagogy and learning, including the inverted classroom and peer instruction. He also currently serves as webmaster for the Society for Music Theory, as a member of the board of the Music Theory Society of New York State, and is co-editor of the journal Theory and Practice.