A native of Greenville, S.C., Brian C. Moseley is a doctoral candidate at the City University of New York's Graduate Center. Though his research interests are broad and include sketch study, 19th-century German rhythmic theory, and recent popular music, he is most interested in the music of the 20th- and 21st centuries, especially music composed after 1945. His recent work, much of which is an extension of his Ph.D. dissertation, establishes a methodology for constructing geometrical spaces capable of modeling musical form in post-tonal music.

Moseley has presented research about the music of George Crumb, John Harbison, Webern, and Bartok at regional, national, and international conferences. Recently, his paper "Transpositional Combination and the Analysis of Form in George Crumb's 'Lux Aeterna' " was published in "Musical Currents from the Left Coast."

Name Title Description

MUS-113

Composition Seminar

Issues and topics relevant to contemporary music in general, current day compositional methods, techniques and literature in particular, and forum for presentation and discussion of works by invited guests, faculty, and students.

MUS-211A

Bsc Musicianship III: Written

Ongoing study of voice leading, chromatic harmony, advanced modulation, and small forms through continued development of complementary skills in analysis, composition, improvisation, music technology, sight-singing, ear training, and at the keyboard.

MUS-211B

Basic Musicianship III: Aural

Ongoing study of voice leading, chromatic harmony, advanced modulation, and small forms through continued development of complementary skills in analysis, composition, improvisation, music technology, sight-singing, ear training, and at the keyboard.

MUS-212A

Bsc Musicianship IV: Written

Overview of large musical forms and of contemporary compositional techniques through continued development of complementary skills in analysis, composition, improvisation, music technology, sight-singing, ear training, and at the keyboard.

MUS-212B

Basic Musicianship IV: Aural

MUS-313

Modal Counterpoint

The ecclesiastical vocal style typical of the sixteenth and early seventeenth centuries. Emphasis on counterpoint in two, three, and four voices based on polyphonic models by Palestrina, Lassus, Victoria, and others.

MUS-412

Senior Project

Capstone requirement of music theory and/or composition degree programs. Synthesis and culmination of undergraduate music study, especially as it relates to the area of specialty.

I am drawn to music theory because I love the act of discovery. Music is full of incredible details, and the idea of uncovering new ways to think about and listen to music is endlessly appealing. As a teacher my goal is to use the classroom to instill this type of curiosity in my students. The cornerstone of my teaching philosophy is a belief that we can use our students' enthusiasm for listening to and making music as a medium for teaching analytical curiosity-the sort of curiosity that I believe incites our students to think about music in ways that will make them better musicians.

  • Chancellor's Fellow, City University of New York
  • "Best Student Paper Award" from Music Theory Southeast
  • Presser Scholar, Furman University
Education
Ph.D. candidate
The Graduate Center, City University of New York
M.M.
University of Cincinnati
B.M.
Furman University
Training Under
William Rothstein, Joseph Straus and Richard Kramer
City University of New York
David Carson Berry and Catherine Losada
University of Cincinnati
Matt Olson and Mark Kilstofte
Furman University

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