ABSTRACT
This chapter explores the intermedial construction of film music as a work of art through Franz Waxman's soundtrack albums from the 1950s and 1960s. It examines how technological advancements, particularly the rise of high-fidelity audio and stereo sound, enabled the transformation of film music into being perceived as phonographic artworks. By analysing Waxman's soundtrack albums, such as those for Peyton Place, Taras Bulba, and Crime in the Streets, the chapter highlights how these recordings were adapted for the record medium. These albums not only served as a means of preserving and disseminating Waxman's music but also positioned him as a composer-conductor within the broader context of Western art music.
