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School of Music

Faculty and Staff

Julie Hubbert

Title: LaDare Robinson Memorial Professor of Music
Professor, Music; Film & Media Studies / Music History
School of Music
Email: jhubbert@mozart.sc.edu
Phone: 803-777-3214
Office:

School of Music Room 318

Resources:

Music History Studies
Film and Media Studies

profile

Education

Ph.D., Yale University (Music History)
M.M., Manhattan School of Music (Piano Performance)
B.M., University of Southern California (Piano Performance) 

Research and Teaching Areas 

  • 19th and 20th Century Music; 20th Century American Music; Mahler/Second Viennese School  
  • Film Music; Musicals; New Hollywood Film; Tarantino; Scorsese

Recent Courses

  • FAMS 316/Music 544 – Music and the Hollywood Film
  • FAMS 510 – Tarantino
  • MUSC 455 – History of Western Music - 1850 to present
  • MUSC 758 – Music in the 19th Century
  • MUSC 759 – 20th/21st Century Music
  • MUSC 744 – 20th-Century American Music
  • MUSC 744 – Russian Nationalism
  • MUSC 744 – Mahler and His Contemporaries
  • MUSC 744 – Music about Music 
  • MUSC 744/CPLT  813 – Wagner

Fellowships and Grants

  • National Endowment for the Humanities (NEH), Fellowship (2018)  
    Technology Listening and Labor: Music in New Hollywood Film     
  • National Endowment for the Humanities (NEH), Summer Stipend (2016)
    The Auteur as Audiophile: Music in New Hollywood Film
  • USC Provost Humanities Grant (2020, 2014, 2009)
  • USC Walker Institute for International Study, Faculty Research Grant (2023, 2018)

Selected Publications

  • Technology, Listening, and Labor:  Music in New Hollywood Film (1967-1980)  (New York: Oxford University Press), forthcoming
  • Musical Theater as Global Culture: Wagner’s Legacy Today, ed. by Anno Mungen, Nicholas Vazsonyi, Julie Hubbert, Arne Stollberg, and Ivana Rentsch (Würzburg: Verlag Konisghaus & Neumann), 2017
  • Celluloid Symphonies: Texts and Contexts in Film Music History (Berkeley: University of California Press), 2011 
  • “Vergessen Sie Visconti: Music, Mahler and Auteurism in Todd Field’s Tar, 19th Century Music, forthcoming
  • “Counterculture Listening in Malick’s Badlands (1973)” in Oxford Handbook of Cinematic Listening, ed. by Carlo Cenerelli (Oxford University Press, 2021), pp. 271-293.
  • “A Chevrolet for Cinderella: Jam Handy, Music and Commercial Filmmaking in Detroit in the 1930s, 40s and 50s” in The Oxford Handbook for Music and Advertising, ed. by James Deville, Ron Rodman and Sui-Lan Tan (Oxford University Press, 2020), pp. 240-264
  • “The New Hollywood Soundtrack and the Rise of FM Radio,” in Voicing the Cinema, edited by Hannah Lewis and James Buhler (Berkeley: University of California Press, 2020), pp. 54-72
  • “Wagner, Propaganda and American Industrial Films of the 1930s and 40s,” in Musical Theater as Global Culture: Wagner’s Legacy Today, ed. by Anno Mungen, Nicholas Vazsonyi, Julie Hubbert, Arne Stollberg, and Ivana Rentsch (Konisghaus and Neumann, 2017), pp. 393-418
  • “Wagner and Media,” in Musical Theater as Global Culture: Wagner’s Legacy Today, ed. by Anno Mungen, Nicholas Vazsonyi, Julie Hubbert, Arne Stollberg, and Ivana Rentsch (Konisghaus and Neumann, 2017), pp. 329-340
  • “The Auteur Epic?:  Rollerball (1975) and Early Compilation Soundtrack Practice,” in Music and Epic Film: Listening to Spectacle, ed. by Steven C. Meyer (Routledge, 2016), pp. 126-46
  • “Politics, War and Documentary Film Music: Roy Harris and the Problem of One Tenth of a Nation,” in Music and the Documentary Film, ed. by Holly Rogers (Routledge Press, 2014), pp. 56-73
  • “The Compilation Soundtrack from the 1960s to the Present,” Oxford Handbook of Music in Film and Media, edited by David Neumeyer (Oxford University Press, 2013), pp. 291-318
  • “Without Music I Would Be Lost: Scorsese, Goodfellas and a New Soundtrack Practice,” Popular Music and the Post-MTV Auteur, edited by Arved Ashby (Oxford University Press, 2012), pp. 31-62
  • "He Got Copland: Musical Style in the Postmodern Soundtrack," Zwichen Ernst und Unterhaltungsmusik: Grenzenuberschreitungen in der Musik der seit 1950, ed. by Friedrich Geiger und Frank Hentschel (Wien: Universal, 2009), pp. 135-156
  • “Eisenstein’s Theory of Film Music: Surreal, Silent and Early Sound Antecedents,” Composing for the Screen in the USSR and Germany, edited by Robynn Stilwell and Philip Powrie (Indiana University Press, 2007), pp. 125-147
  • “Modernism at the Movies: The Cabinet of Dr. Caligari and a Silent Film Score Revisited,” The Musical Quarterly, 88/1 (Winter, 2006), pp. 63-94 
  • “Bach and the Rolling Stones: Scorsese and the Postmodern Soundtrack in Casino,” Tonspuren: Musik und Film, Musik im Film (Studien zur Wertungsforchung), edited by Andreas Dorschel (Vienna -London - New York: Universal Editions, 2005), pp. 43-69 
  • “Whatever Happened to Great Movie Music: Cinéma Vérité and Hollywood Film Music of the 1970s” American Music 21/2 (Summer, 2003), pp. 180-213 

Honors and Awards

  • Cantey Outstanding Faculty Award (2013)
  • Michael J. Mungo Award for Excellence in Undergraduate Teaching (2006)

Current Research

  • The Compilation Score in Post-Classical and Post-Modern Film
    (manuscript in progress)

  •  “Politics, War and Documentary Film Music: Roy Harris and the Problem of
    One Tenth of a Nation” (article in progress)

  • Wagner World Wide 2013: http://www.cas.sc.edu/www2013/usc2013/
    Orphans, A Film Symposium: http://www.nyu.edu/orphanfilm/orphans7/ 

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