ABSTRACT
This chapter examines the reception of Hollywood film music from the 1930s to the 1960s, focusing on its aesthetic status and the debates surrounding its artistic value. It explores how composers, critics, and the broader music industry negotiated the position of film music within the binary of “serious” art music and “functional” popular music. The chapter highlights the influence of technological advancements, such as sound recording, and the role of the concert hall as a frame of reference for legitimizing film music. Franz Waxman's contributions to this discourse are analysed, particularly his efforts to adapt film scores for concert performance to elevate their status. The chapter also addresses the ideological tensions between the collaborative nature of Hollywood film production and the individualistic “genius” narrative of art music. By situating Waxman's work within these debates, the chapter sheds light on the broader sociocultural and aesthetic challenges faced by film composers seeking recognition in an era dominated by traditional art music values. Ultimately, it argues that the reception of film music during this period reflects a complex interplay of media, aesthetics, and cultural hierarchies.
