Brian Moseley bio photo

Brian Moseley

Music theorist at the University at Buffalo.

Email Twitter Github

Susan McClary, Feminine Endings: Music, Gender, and Sexuality (Minneapolis: University of Minnesota Press, 1991), 3–34.

Pieter C. van den Toorn, “Politics, Feminism, and Contemporary Music Theory,” Journal of Musicology 9/3 (1991): 275–99.

Ruth A. Solie, “What Do Feminists Want? A Reply to Pieter van den Toorn,” Journal of Musicology 9/4 (1991): 399–410.

Ruth A. Solie, “Whose Life? The Gendered Self in Schumann’s Frauenliebe Songs,” in Music and Text: Critical Inquiries, ed. Steven Paul Scher (New York: Cambridge University Press, 1992), 219–40.

Ellie M. Hisama, “Cultural Analysis and Post-Tonal Music” and “The Question of Climax in Ruth Crawford’s String Quartet, mvt. 3,” Chapters 1 & 2 in Gendering Musical Modernism: The Music of Ruth Crawford, Marion Bauer, and Miriam Gideon, (Cambridge: Cambridge University Press, 2001), 1-12, 13-34.

Fred Maus, “Sexual and Musical Categories,” in The Pleasure of Modernist Music: Listening, Meaning, Intention, Ideology, ed. Arved Ashby, 153-75 (Rochester: University of Rochester Press, 2004).