About
Tyler Osborne is Part-Time Lecturer in Music Theory at University of Louisville. Currently, he focuses his research on the intersections of posthumanist philosophy with aspects of timbre and form in popular music––specifically, how technology’s influence on the human voice may change perceptions of the vocalic body. He also actively researches 19th-century form in art song and chamber works by women composers. His forthcoming work includes an article addressing teleological expectations and deceptive chorus techniques in My Bloody Valentine’s Loveless, a chapter on synthesizer timbres in death metal, and a collaborative set of essays highlighting multimodal analysis techniques in recent music videos.
Over the past five years, Tyler’s research has been published in a number of music theory journals and books. Most recently, his article “Becoming and Beyond: Applying Goethe’s Progressive and Retrogressive Metamorphoses to Fanny Hensel’s Piano Sonatas” was released by Music Theory Spectrum, where he draws parallels between Goethe’s philosophy of botanical growth and gradual thematic transformations in nineteenth-century sonata forms. His other work on Hensel’s musical style appears in Music Theory Online and in the Oxford University Press collection, The Songs of Fanny Hensel. Additionally, he has presented extensively on both Hensel and popular music at national, regional, and international music and philosophy conferences.
At University of Louisville, Tyler teaches first-year musicianship courses that encompass theory and aural skills. Prior to joining the UofL community, he taught first-year theory at the University of Oregon, where he also served as a graduate teaching assistant from 2016–20.
Tyler earned his PhD in music theory from the University of Oregon in 2020 and holds a MA in music theory from Radford University (2016).