- Professor of Theory
- GSC & GAAC Chair
- Director, Center for American Music
Office Phone: 512-232-8411
Office Location: MRH 3.722
- Music Theory
James Buhler received his Ph.D. from the University of Pennsylvania in 1996. Prior to joining the faculty at UT Austin, he taught at Carleton College and the University of Wisconsin—Madison. His research interests include the history and theory of the sound track, auditory culture, and critical theory. He has published extensively in edited anthologies as well as in Nineteenth-Century Music, Journal of the American Musicological Society, Cambridge Opera Journal and Modernism/Modernity among others. Along with David Neumeyer and Caryl Flinn, Professor Buhler edited a collection of essays on film music for Wesleyan University Press (2000). He is also author with David Neumeyer and Rob Deemer of Hearing the Movies, a textbook on music and sound in film for Oxford University Press (2009). He is currently working on a book dealing with the auditory culture of early American cinema.
“Wagnerian Motives: Narrative Integration and the Development of Silent Film Accompaniment, 1908-1913.” In Wagner and Cinema, edited by Sander L. Gilman and Jeongwon Joe. Bloomington: Indiana University Press, 2010.
“Music and the Adult Ideal in A Nightmare on Elm Street.” In Music in the Horror Film: Listening to Fear, edited by Neil Lerner, pp. 168-86. New York: Routledge, 2009.
“‘Everybody Sing': Family and Social Harmony in the Hollywood Musical.” In A Family Affair, edited by Murray Pomerance, 29-44. London: Wallflower Press, 2008.
Composing for the Films, Modern Soundtrack Theory, and the Difficult Case of A Scandal in Paris. Eisler-Studien (2008), 123-41. Co-authored with David Neumeyer.
“Enchantments of The Lord of the Rings: Soundtrack, Myth, Language, and Modernity.” In From Hobbits to Hollywood: Essays on Peter Jackson’s Lord of the Rings, edited by Murray Pomerance and Ernest Mathijs, 231-48. Editions Rodopi, 2006.
“Music—Sound—Narrative: Analyzing Casablanca.” In Interdisciplinary Studies in Musicology 5, edited by Maciej Jablonski and Michael Klein, 277-91. Poznan, Poland: Rhytmos, 2005. Co-authored with David Neumeyer.
“Frankfurt School Blues: Rethinking Adorno’s Critique of Jazz.” In Apparitions: New Perspectives on Adorno and Twentieth Century Music, edited by Berthold Hoeckner, 103-30. Routledge, 2006.
“Theme, Thematic Process, and Variant-Form in the Andante moderato of Mahler’s Sixth Symphony.” In Perspectives on Gustav Mahler, edited by Jeremy Barham, 255-88. Ashgate Press, 2005.
“Disenchanting Music.” Review article of Absolute Music and the Construction of Meaning, by Daniel K.L. Chua. ??19th-Century Music?? 26, no. 2 (2002): 183-190.
“Analytical and Interpretive Approaches to Film Music (I): Analyzing the Music.” In Film Music: An Anthology of Critical Essays, edited by K.J. Donnelly, 16-38. Edinburgh University Press, 2001. Co-authored with David Neumeyer.
“Analytical and Interpretive Approaches to Film Music (II): Interpreting Interactions of Music and Film.” In Film Music: An Anthology of Critical Essays, edited by K.J. Donnelly, 39-61. Edinburgh University Press, 2001.
“Star Wars, Music and Myth.” In Music and Cinema, edited by James Buhler, Caryl Flinn, and David Neumeyer, 33-57. Wesleyan University Press, 2000.
“Breakthrough as Critique of Form: The Finale of Mahler’s First Symphony.” 19th-Century Music 20, no. 2 (1996): 125-43.
“Film Music/Film Studies,” Review article of Strains of Utopia, by Caryl Flinn; and Settling the Score, by Kathryn Kalinak. Journal of the American Musicological Society 47, no. 2 (1994): 364-85. Co-authored with David Neumeyer.
(with David Neumeyer) Hearing the Movies. Oxford University Press. 2nd Edition scheduled for 2014.
(with David Neumeyer) “Music and the Ontology of the Sound Film: The Classic Hollywood System.” In Oxford Handbook of Music in Film and Visual Media, edited by David Neumeyer. New York: Oxford University Press, in press.
“Ontological, Formal, and Critical Theories of Film Music and Sound.” In Oxford Handbook of Music in Film and Visual Media, edited by David Neumeyer. New York: Oxford University Press, in press.
“Gender, Sexuality and the Soundtrack.” In Oxford Handbook of Music in Film and Visual Media, edited by David Neumeyer. New York: Oxford University Press, in press.
“Psychoanalysis, Apparatus Theory, and Subjectivity.” In Oxford Handbook of Music in Film and Visual Media, edited by David Neumeyer. New York: Oxford University Press, in press.
“Notes to Source Code.” In Oxford Handbook of Sound and Image in Digital Media, edited by Carol Vernallis, John Richardson, and Amy Herzog. New York: Oxford University Press, in press.
(with Alex Newton). “Outside the Law of Action: Music and Sound in the Bourne Trilogy.” In Oxford Handbook of Sound and Image in Digital Media, edited by Carol Vernallis, John Richardson, and Amy Herzog. New York: Oxford University Press, in press.
“The Reception of British Exhibition Practices in The Moving Picture World, 1907-1914.” In The Sounds of Early Cinema in Britain, edited by Julie Brown and Annette Davison. New York: Oxford University Press, in press.
“The Photoplay Agitated Allegro: Origins, Nature, Uses, and Construction.” In Studies in Honor of Eugene Narmour, edited by Lawrence Bernstein and Lex Rozin. New York: Pendragon, in press.
“A Postcolonial Critique of Musical Topics.” Music and the Moving Image VII. New York University. 3 June 2012.
(with Byron Almén) ” ‘To Everything There Is a Season': Topic Formation and The Hearts of Space. International Conference on Music Semiotic in Memory of Raymond Monelle. University of Edinburgh. 27 October 2012.