{"@context":{"aiiso":"http:\/\/purl.org\/vocab\/aiiso\/schema#","arm":"https:\/\/ld4p.github.io\/arm\/core\/ontology\/0.1\/","bf":"http:\/\/id.loc.gov\/ontologies\/bibframe\/","bib":"https:\/\/bibliotek-o.org\/","bibo":"http:\/\/purl.org\/ontology\/bibo\/","cito":"http:\/\/purl.org\/spar\/cito\/","classSchemes":"http:\/\/id.loc.gov\/vocabulary\/classSchemes","dbo":"http:\/\/dbpedia.org\/ontology\/","dce":"http:\/\/purl.org\/dc\/elements\/1.1\/","dcmitype":"http:\/\/dublincore.org\/documents\/2000\/07\/11\/dcmi-type-vocabulary\/#","dcterms":"http:\/\/purl.org\/dc\/terms\/","ebucore":"http:\/\/www.ebu.ch\/metadata\/ontologies\/ebucore\/ebucore","edm":"http:\/\/www.europeana.eu\/schemas\/edm\/","foaf":"http:\/\/xmlns.com\/foaf\/spec\/#","frap":"http:\/\/purl.org\/cerif\/frapo","identifiers":"http:\/\/id.loc.gov\/vocabulary\/identifiers","ids":"http:\/\/id.loc.gov\/vocabulary\/identifiers\/","opaque":"http:\/\/opaquenamespace.org\/","pcdm":"http:\/\/pcdm.org\/models#","phaidra":"https:\/\/phaidra.org\/ontology\/","rdam":"http:\/\/rdaregistry.info\/Elements\/m\/","rdau":"http:\/\/rdaregistry.info\/Elements\/u\/","rdax":"http:\/\/rdaregistry.info\/Elements\/x\/","rdf":"http:\/\/www.w3.org\/1999\/02\/22-rdf-syntax-ns#","rdfs":"https:\/\/www.w3.org\/TR\/rdf-schema\/","relators":"http:\/\/id.loc.gov\/vocabulary\/relators","role":{"@context":{"aut":{"@container":"@list","@id":"http:\/\/id.loc.gov\/vocabulary\/relators\/aut"}}},"schema":"http:\/\/schema.org\/","skos":"http:\/\/www.w3.org\/2004\/02\/skos\/core#","skosxl":"http:\/\/www.w3.org\/2008\/05\/skos-xl"},"@id":"https:\/\/e-book.fwf.ac.at\/o:1945","bf:note":[{"@type":"bf:Note","skos:prefLabel":[{"@language":"deu","@value":"Franz Waxman (1906–1967) zählte zwar zu den bekanntesten Vertretern der „klassischen“ Hollywood-Filmmusik, ist aber, im Gegensatz zu seinen Zeitgenossen Miklós Rózsa, Erich Wolfgang Korngold oder Max Steiner, bislang nur lückenhaft erforscht. Die Monographie Franz Waxman – Zwischen Filmmusik und Konzertsaal entwickelt am Beispiel Waxmans eine neue Perspektive auf Hollywoods Filmmusik der 1930er- bis 1960er-Jahre, die über rein biographische oder musikanalytische Einzelbetrachtungen hinausgeht. So wirkte Waxman in einem internationalen Umfeld nicht nur als Filmkomponist, sondern auch als Festivalveranstalter, Dirigent und Komponist von Konzertmusik."}]},{"@type":"bf:Note","skos:prefLabel":[{"@language":"eng","@value":"In comparison to his contemporaries Miklós Rózsa, Erich Wolfgang Korngold, or Max Steiner (all prominent figures in the history of ‚classical‘ Hollywood film music), Franz Waxman (1906–1967) has been underresearched. The monograph Franz Waxman – Zwischen Filmmusik und Konzertsaal utilizes Waxman as a case study, offering a fresh perspective on Hollywood film music from the 1930s to the 1960s that extends beyond mere biographical or music-analytical examinations. In addition to his work for Hollywood, Waxman played diverse roles in the international music business, such as festival organizer, conductor, and composer of concert music."}]}],"bf:provisionActivity":[{"@type":"bf:Publication","bf:agent":[{"@type":"schema:Organization","schema:name":[{"@value":"BRILL Österreich GmbH – Böhlau Verlag"}]}],"bf:date":["2024"],"bf:place":[{"@type":"schema:Place","skos:prefLabel":[{"@value":"Wien"}]}]}],"dce:subject":[{"@type":"skos:Concept","skos:prefLabel":[{"@language":"deu","@value":"Franz Waxman"}]},{"@type":"skos:Concept","skos:prefLabel":[{"@language":"deu","@value":"Filmmusik"}]},{"@type":"skos:Concept","skos:prefLabel":[{"@language":"deu","@value":"Konzertsaal"}]},{"@type":"skos:Concept","skos:prefLabel":[{"@language":"deu","@value":"Migration von Filmkomponisten"}]},{"@type":"skos:Concept","skos:prefLabel":[{"@language":"deu","@value":"Intermedialität"}]},{"@type":"skos:Concept","skos:prefLabel":[{"@language":"deu","@value":"Soundtrack-Album"}]},{"@type":"skos:Concept","skos:prefLabel":[{"@language":"deu","@value":"Musikkultur der USA"}]},{"@type":"skos:Concept","skos:prefLabel":[{"@language":"deu","@value":"20. 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