Gergely Hubai holds degrees in American Studies and American History from Eötvös Loránd University, in Budapest, Hungary, where he teaches courses in film music history. He has written on film music for various periodicals, including Film Score Monthly and the Hungarian film journal Prizma, and is the author of liner notes for a number of film score recordings. Hubai's doctoral thesis was on the rejected film scores of composers outside the Hollywood system, focusing on the work of George Antheil, Igor Stravinsky, Arnold Schoenberg, and Alexandre Tansman. He is an expert on the music of James Bond films and is currently at work on a book on the film music of Miklós Rózsa.

"Hubai's book is an amazing piece of film music scholarship that deserves a place in every music library and on every film music fan's shelf.…Torn Music is an armchair book with a readability that makes even some of the more obscure choices accessible to most. As the reader discovers a new film, or learns about its music, there is a great urge to want to see these movies and hear the scores, and that is the mark of a writer who loves his subject and has communicated well that enthusiasm…. This is a must-have resource for film music fans and an important document of the film industry at the start of the new century. —Steven A. Kennedy, Film Score Monthly

"An ace idea for a book that shows how movies need themes and how the people who write them need rhino-thick skin.” —George Bass, Total Film magazine

"[An] incredible and unique book…thoroughly researched and incredibly well written.” —Christopher Young

"Torn Music examines a much-discussed but seldom-examined aspect of the filmmaking agony: the replacement score. Every composer dreads the specter of having his score rejected, and eventually replaced, often by a colleague or friend. Speaking from experience on both ends of this process, I can say with honesty that this book is exhaustive, informative, important, at times funny, at other times painful. It is absolutely essential reading for anyone studying the business and art of film scoring.” —Paul Chihara, composer and Chair of Composition for Visual Media, UCLA

"Here is a wealth of arresting and occasionally frightening stories that in some strange way may help define the psyche of the film composer. This is more than a must-have reference for all film fans and film music fans, it's a great read to curl up with.” —Michael Schelle, author of The Score

"I couldn't put the book down; it provides a wonderful behind-the-scenes look at filmmaking from an often overlooked point of view.... Hubai does a fine job of teasing out whether the replacements were done for aesthetic or political reasons." —Gino Robair, Mix magazine