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/