|
gptkbp:instanceOf
|
musical composition
|
|
gptkbp:analyzes
|
gptkb:Paul_Griffiths
gptkb:Elliott_Antokoletz
|
|
gptkbp:composer
|
gptkb:Béla_Bartók
|
|
gptkbp:compositionPeriod
|
1908-1939
|
|
gptkbp:dedicatedTo
|
various individuals
|
|
gptkbp:fifthQuartetTitle
|
gptkb:String_Quartet_No._5,_Sz._102
|
|
gptkbp:firstQuartetComposed
|
1908
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|
gptkbp:firstQuartetTitle
|
gptkb:String_Quartet_No._1_in_A_minor,_Op._7,_Sz._40
|
|
gptkbp:fourthQuartetTitle
|
gptkb:String_Quartet_No._4,_Sz._91
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gptkbp:genre
|
gptkb:string_quartet
|
|
https://www.w3.org/2000/01/rdf-schema#label
|
Bartók string quartets
|
|
gptkbp:influenced
|
gptkb:Elliott_Carter
gptkb:Benjamin_Britten
gptkb:György_Ligeti
20th-century chamber music
|
|
gptkbp:influencedBy
|
gptkb:Hungarian_folk_music
|
|
gptkbp:language
|
Hungarian
|
|
gptkbp:lastQuartetComposed
|
1939
|
|
gptkbp:notableFor
|
complex rhythms
use of folk melodies
chromaticism
cyclic form
arch form
extended instrumental techniques
asymmetrical rhythms
use of microtones
contrapuntal writing
advanced harmonic language
innovative use of folk music
motivic development
tonal ambiguity
|
|
gptkbp:notableRecording
|
gptkb:Emerson_String_Quartet_(Deutsche_Grammophon)
gptkb:Juilliard_String_Quartet_(Sony_Classical)
gptkb:Takács_Quartet_(Decca)
|
|
gptkbp:numberOfBooks
|
6
|
|
gptkbp:performedBy
|
gptkb:Juilliard_String_Quartet
gptkb:Takács_Quartet
gptkb:Emerson_String_Quartet
|
|
gptkbp:publishedBy
|
gptkb:Universal_Edition
|
|
gptkbp:recordedAt
|
gptkb:Hungarian_String_Quartet
gptkb:Tokyo_String_Quartet
gptkb:Alban_Berg_Quartett
|
|
gptkbp:secondQuartetTitle
|
gptkb:String_Quartet_No._2_in_A_minor,_Op._17,_Sz._67
|
|
gptkbp:significance
|
major works of 20th-century chamber music
|
|
gptkbp:sixthQuartetTitle
|
gptkb:String_Quartet_No._6,_Sz._114
|
|
gptkbp:studiedIn
|
musicology
|
|
gptkbp:thirdQuartetTitle
|
gptkb:String_Quartet_No._3,_Sz._85
|
|
gptkbp:bfsParent
|
gptkb:Juilliard_String_Quartet
gptkb:Fine_Arts_Quartet
|
|
gptkbp:bfsLayer
|
6
|