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- Julie Hubbert
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: |
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/