ABSTRACT
This introduction to the monograph on Franz Waxman gives an overview on the multifaceted career of the German-American composer, who navigated between the areas of Hollywood film music and the concert hall. The introduction contextualizes Waxman's career within the aesthetic, ideological, and technological discourses of the mid-twentieth century, including musical modernism, the European symphonic tradition, and American musical nationalism. The introduction highlights Waxman's dual identity as a film and concert music composer, examining how his work bridged these seemingly opposing domains. It addresses the challenges Waxman faced in establishing his career in the USA, particularly as a composer who transitioned from the entertainment industry to the concert stage. The introduction also introduces key concepts such as intermediality, media transfer, and the ideological constructs surrounding film music and art music. By situating Waxman's career within broader historical and cultural contexts, the introduction sets the stage for a critical re-evaluation of his contributions to music history, challenging the traditional dichotomy between film music and concert music. It furthermore underscores the need for interdisciplinary approaches to understanding Waxman's legacy and the evolving role of film music in the twentieth century.
