View source for Béla Bartók

{{short description|Hungarian composer (1881–1945)}}
{{redirect|Bartok}}
{{eastern name order|Bartók Béla Viktor János}}
{{pp-move-vandalism|small=yes}}
{{Use dmy dates|date=September 2024}}
{{infobox classical composer
| image              = Bartók Béla 1927.jpg
| caption            = Béla Bartók in 1927
| name               = Béla Bartók
| birth_date         = 25 March 1881
| birth_place        = [[Sânnicolau Mare|Nagyszentmiklós]], Kingdom of Hungary
| death_date         = 26 September 1945 (aged 64)
| death_place        = New York City, U.S.
| works              = [[List of compositions by Béla Bartók|List of compositions]]
| occupation         = Composer, pianist and [[ethnomusicologist]]
}}

'''Béla Viktor János Bartók''' ({{IPAc-en|ˈ|b|eɪ|l|ə|_|ˈ|b|ɑːr|t|ɒ|k}}; {{IPA|hu|ˈbɒrtoːk ˈbeːlɒ|lang}}; 25 March 1881 – 26 September 1945) was a Hungarian composer, pianist and [[ethnomusicologist]]. He is considered one of the most important composers of the 20th century; he and [[Franz Liszt]] are regarded as Hungary's greatest composers.{{sfn|Gillies|2001}} Among his notable works are the opera ''[[Bluebeard's Castle]]'', the ballet ''[[The Miraculous Mandarin]]'', ''[[Music for Strings, Percussion and Celesta]]'', the [[Concerto for Orchestra (Bartók)|Concerto for Orchestra]] and [[List of string quartets by Béla Bartók| six string quartets]]. Through his collection and analytical study of [[folk music]], he was one of the founders of [[comparative musicology]], which later became known as ethnomusicology. Per [[Anthony Tommasini]], Bartók "has empowered generations of subsequent composers to incorporate folk music and classical traditions from whatever culture into their works and was "a formidable modernist who in the face of [[Schoenberg]]’s breathtaking formulations showed another way, forging a language that was an amalgam of tonality, unorthodox scales and atonal wanderings."<ref>{{cite news| last=Tommasini| first=Anthony| author-link=Anthony Tommasini| date=January 21, 2011| title=The Greatest| work=[[The New York Times]]| url=https://www.nytimes.com/2011/01/23/arts/music/23composers.html}}</ref>

==Biography==

===Childhood and early years (1881–1898)===
Bartók was born in the [[Banat]]ian town of [[Sânnicolau Mare|Nagyszentmiklós]] in the [[Kingdom of Hungary]] (present-day [[Sânnicolau Mare]], Romania) on 25 March 1881.<ref>{{cite web|title=Bela Bartok (1881–1945)|url=https://mahlerfoundation.org/mahler/contemporaries/bela-bartok/#:~:text=Through%20his%20collection%20and%20analytical,musicology%2C%20which%20later%20became%20ethnomusicology.&text=B%C3%A9la%20Bart%C3%B3k%20was%20born%20in,)%20on%20March%2025%2C%201881.|website=mahlerfoundation.org|date=16 October 2015|access-date=7 February 2022|archive-date=7 February 2022|archive-url=https://web.archive.org/web/20220207081056/https://mahlerfoundation.org/mahler/contemporaries/bela-bartok/#:~:text=Through%20his%20collection%20and%20analytical,musicology%2C%20which%20later%20became%20ethnomusicology.&text=B%C3%A9la%20Bart%C3%B3k%20was%20born%20in,)%20on%20March%2025%2C%201881.|url-status=live}}</ref> On his father's side, the Bartók family was a Hungarian lower noble family, originating from [[Borsodszirák]], [[Borsod County|Borsod]].{{sfn|Móser|2006a|p=44}} His paternal grandmother was a [[Catholic Church|Catholic]] of [[Bunjevci]] origin, but considered herself Hungarian.{{sfn|Szekernyés|2017}} Bartók's father (1855–1888) was also named {{ill|Béla Bartók (school principal)|hu|Bartók Béla (iskolaigazgató)|lt=Béla}}. Bartók's mother, {{ill|Paula (née Voit)|hu|Voit Paula}} (1857–1939), spoke<ref>{{cite web |date=6 June 2023 |title=Béla Bartók {{!}} Hungarian Composer & Innovator |url=https://www.britannica.com/biography/Bela-Bartok |url-status=live |archive-url=https://web.archive.org/web/20230514014828/https://www.britannica.com/biography/Bela-Bartok |archive-date=14 May 2023 |access-date=4 July 2023 |website=Britannica}}</ref> [[Hungarian language|Hungarian]] fluently.{{sfn|Hooker|2001|p=16}} A native of [[Martin, Slovakia|Turócszentmárton]] (present-day [[Martin, Slovakia|Martin]], Slovakia),{{sfn|Cooper|2015|p=6}} she had German, Hungarian and Slovak or Polish ancestry.

Béla displayed notable musical talent very early in life. According to his mother, he could distinguish between different dance [[rhythm]]s that she played on the piano before he learned to speak in complete sentences.{{sfn|Gillies|1990|p=6}} By the age of four he was able to play 40 pieces on the piano, and his mother began formally teaching him the next year.

In 1888, when he was seven, his father, the director of an agricultural school, died suddenly. His mother then took Béla and his sister, Erzsébet, to live in [[Vynohradiv|Nagyszőlős]] (present-day [[Vynohradiv]], Ukraine) and then in [[Pressburg]] (present-day [[Bratislava]], Slovakia). Béla gave his first public recital aged 11 in Nagyszőlős, to positive critical reception.{{sfn|Griffiths|1988}}{{Page needed|date=April 2016}} Among the pieces he played was his own first composition, written two years previously: a short piece called "The Course of the Danube".{{sfn|de Toth|1999}} Shortly thereafter, {{ill|László Erkel|hu|Erkel László}} accepted him as a pupil.{{sfn|Stevens|1964|p=8}}
[[File:Bartok tablo.jpg|left|thumb|Bartók in his high school graduation photo, in 1899]]

===Early musical career (1899–1908)===
From 1899 to 1903, Bartók studied piano under [[István Thomán]], a former student of [[Franz Liszt]], and composition under [[János Koessler]] at the [[Royal Academy of Music in Budapest]].<ref>{{wikicite|reference=2018. "[http://www.boosey.com/pages/cr/composer/composer_main?composerid=2694&ttype=BIOGRAPHY Béla Bartók]". Boosey & Hawkes website (accessed 27 September 2018).}}</ref> There he met [[Zoltán Kodály]], who made a strong impression on him and became a lifelong friend and colleague.{{sfn|Rockwell|1982}} In 1903, Bartók wrote his first major orchestral work, ''[[Kossuth (Bartók)|Kossuth]]'', a [[symphonic poem]] that honored [[Lajos Kossuth]], hero of the [[Hungarian Revolution of 1848]].{{sfn|Stevens|2018}}

The music of [[Richard Strauss]], whom he met in 1902 at the [[Budapest]] premiere of ''[[Also sprach Zarathustra (Strauss)|Also sprach Zarathustra]]'', strongly influenced his early work.{{sfn|Wilhelm|1989|p=73}} When visiting a holiday resort in the summer of 1904, Bartók overheard a young nanny, Lidi Dósa from [[Kibéd]] in Transylvania, sing folk songs to the children in her care. This sparked his lifelong dedication to folk music.{{sfn|Kory|2007}}

Beginning in 1907, he came under the influence of French composer [[Claude Debussy]], whose compositions Kodály had brought back from Paris. Bartók's large-scale orchestral works were still in the style of [[Johannes Brahms]] and Richard Strauss, but he wrote a number of small piano pieces which showed his growing interest in [[folk music]]. The first piece to show clear signs of this new interest is the [[String Quartet No. 1 (Bartók)|String Quartet No. 1]] in A minor (1908), which contains folk-like elements.{{sfn|Rodda|1990–2018}} He began teaching as a piano professor at the [[Franz Liszt Academy of Music|Liszt Academy of Music]] in Budapest. This position freed him from touring Europe as a pianist. Among his notable students were [[Fritz Reiner]], [[Sir Georg Solti]], [[György Sándor]], [[Ernő Balogh]], [[Gisela Selden-Goth]], and [[Lili Kraus]]. After Bartók moved to the United States, he taught [[Jack Beeson]] and [[Violet Archer]].

In 1908, Bartok and Kodály traveled into the countryside to collect and research old [[Hungarian people|Magyar]] folk melodies. Their growing interest in folk music coincided with a contemporary social interest in traditional national culture. Magyar folk music had previously been categorised as [[Romani people|Gypsy]] music. The classic example is Franz Liszt's ''[[Hungarian Rhapsodies]]'' for piano, which he based on popular art songs performed by [[Romani people|Romani]] bands of the time. In contrast, Bartók and Kodály discovered that the old Magyar folk melodies were based on [[pentatonic scale]]s, similar to those in [[Asian music|Asian folk traditions]], such as those of Central Asia, Anatolia and Siberia.<ref>{{Cite web |date=16 October 2015 |title=Béla Bartók (1881–1945) |url=https://mahlerfoundation.org/mahler/contemporaries/bela-bartok/ |access-date=4 July 2023 |website=Mahler Foundation |language=en-US |archive-date=14 June 2023 |archive-url=https://web.archive.org/web/20230614180547/https://mahlerfoundation.org/mahler/contemporaries/bela-bartok/ |url-status=live }}</ref>

Bartók and Kodály set about incorporating elements of such Magyar peasant music into their compositions. They both frequently quoted folk song melodies ''verbatim'' and wrote pieces derived entirely from authentic songs. An example is Bartok's two volumes entitled ''[[For Children]]'' for solo piano, containing 80 folk tunes to which he wrote accompaniment. Bartók's style in his art music compositions was a synthesis of folk music, classicism, and modernism. His melodic and harmonic sense was influenced by the folk music of Hungary, Romania, and other nations. He was especially fond of the asymmetrical dance rhythms and pungent harmonies found in [[Bulgarian music]]. Most of his early compositions offer a blend of nationalist and late Romantic elements.

===Middle years and career (1909–1939)===

====Personal life====
[[File:Bartok Pásztory.jpg|thumb|Bartok and his wife [[Ditta Pásztory-Bartók|Ditta Pásztory]]]]
In 1909, at the age of 28, Bartók married Márta Ziegler (1893–1967), aged 16. Their son, {{ill|Béla Bartók III|hu|Bartók Béla (mérnök)}}, was born the next year. After nearly 15 years together, Bartók divorced Márta in June 1923. Two months after his divorce, he married [[Ditta Pásztory-Bartók|Ditta Pásztory]] (1903–1982), a piano student, ten days after proposing to her. She was aged 19, he 42. Their son, {{ill|Péter|hu|Bartók Péter}}, was born in 1924.{{sfn|Hughes|2007|p=22}}

Raised as a [[Catholic Church|Catholic]], by his early adulthood Bartók had become an [[atheist]]. He later became attracted to [[Unitarianism]] and publicly converted to the Unitarian faith in 1916. Although Bartók was not conventionally religious, according to his son Béla Bartók III, "he was a nature lover: he always mentioned the miraculous order of nature with great reverence". He had a large collection of insects, one of his main interests outside music.<ref>[https://books.google.no/books?id=TOj4ACxPy4IC&pg=PT205&dq=B%C3%A9la+Bart%C3%B3k+entomologist+beetles+flies&hl=en&newbks=1&newbks_redir=0&sa=X&ved=2ahUKEwiFrq3ez8-QAxVuKRAIHagfNJsQ6AF6BAgMEAM#v=onepage&q=B%C3%A9la%20Bart%C3%B3k%20entomologist%20beetles%20flies&f=false Bug Music: How Insects Gave Us Rhythm and Noise]</ref> As an adult, Béla III later became lay president of the [[Hungarian Unitarian Church]].{{sfn|Hughes|2001}}

====Opera====
In 1911, Bartók wrote what was to be his only opera, ''[[Bluebeard's Castle]]'', dedicated to Márta. In creating ''Bluebeard's Castle'', Bartók uses symbolism to show parallels between unconscious motivation and fate. The opera in showing fate has a strong interaction between the characters and gives the idea that people are not able to control what the outcome will be.<ref>{{cite journal|last=Antokoletz |first=Elliott |date=2006-08-21 |title=Musical Symbolism in Bartók's Bluebeard: Trauma, Gender, and the Unfolding of the Unconscious |url=https://akjournals.com:443/view/journals/006/47/3-4/article-p279.xml |journal=Studia Musicologica Academiae Scientiarum Hungaricae |language=en-US |volume=47 |issue=3–4 |pages=281–282 |doi=10.1556/smus.47.2006.3-4.5 |issn=0039-3266|url-access=subscription }}</ref> He entered it for a prize by the Hungarian Fine Arts Commission, but they rejected his work as not fit for the stage.{{sfn|Chalmers|1995|p=93}} In 1917 Bartók revised the score for the 1918 première and rewrote the ending. Following the [[Hungarian Soviet Republic|1919 revolution]], in which he actively participated, he was pressured by the [[Horthy's Hungary|Horthy regime]] to remove the name of librettist [[Béla Balázs]] from the opera, as Balázs was of Jewish origin, was blacklisted, and had left the country for Vienna. ''Bluebeard's Castle'' received only one revival, in 1936, before Bartók emigrated. For the remainder of his life, although devoted to Hungary, its people and its culture, he never felt much loyalty to the government or its official establishments.{{citation needed|date=January 2025}}[[File:Bartok recording folk music.jpg|thumb|upright=1.3|Béla Bartók using a [[phonograph]] to record Slovak folk songs sung by peasants in Zobordarázs{{sfn|Getting|2020}} ({{langx|sk|Dražovce}}, today part of [[Nitra]], [[Slovakia]])|left]]
====Folk music and composition====
After his disappointment over the Fine Arts Commission competition, Bartók wrote little for two or three years, preferring to concentrate on collecting and arranging [[folk music]]. Bartók undertook this task with great skill and persistence; later, the folk music scholar [[Charles Seeger]] would describe him as "one of the greatest field collectors of the first half of the 20th century."<ref>Seeger's remarks appear in a laudatory review of the book Bartók coauthored with [[Albert Lord]], ''Serbo-Croatian folk songs'' (Columbia University Press, 1951). The review appeared in ''Journal of the American Musicological Society''; Jan 1, 1952; 5.</ref> Bartók  found the phonograph an essential tool for collecting folk music for its accuracy, objectivity, and manipulability.{{sfn|Bartók|1976|p=14}} He collected first in the [[Carpathian Basin]] (then the [[Kingdom of Hungary in the 18th and 19th century|Kingdom of Hungary]]), where he notated [[Hungarian folk music|Hungarian]], [[Music of Slovakia|Slovak]], [[Music of Romania|Romanian]], and [[Music of Bulgaria|Bulgarian]] folk music. The developmental breakthrough for Bartok arrived when he collaboratively collected folk music with [[Zoltán Kodály]] through the medium of a [[phonomotor]], on which they studied classification possibilities (for individual folk songs) and recorded hundreds of cylinders. Bartok's compositional command of folk elements is expressed in such an authentic and undiluted a manner because of the scales, sounds, and rhythms that were so much a part of his native Hungary that he automatically saw music in these terms.<ref>{{Cite book|last=Schonberg|first=Harold C.|title=The lives of the great composers|publisher=W. W. Norton|year=1997|isbn=0-393-03857-2|pages=567–569|oclc=1248953993}}</ref> He also collected in [[Moldavia]], [[Wallachia]], and (in 1913) [[Algeria]]. The outbreak of [[World War I]] forced him to stop the expeditions, but he returned to composing with a ballet called ''[[The Wooden Prince]]'' (1914–1916) and the [[String Quartet No. 2 (Bartók)|String Quartet No.&nbsp;2]] in (1915–1917), both influenced by [[Debussy]].

Bartók's score for ''[[The Miraculous Mandarin]]'', another ballet, was influenced by [[Igor Stravinsky]], [[Arnold Schoenberg]] and Richard Strauss. Though started in 1918, the story's sexual content kept it from being performed until 1926. He next wrote his two [[violin sonata]]s (written in 1921 and 1922, respectively), which are among his most harmonically and structurally complex pieces.<ref>{{Cite web |date=16 October 2015 |title=Bela Bartok (1881–1945) |url=https://mahlerfoundation.org/mahler/contemporaries/bela-bartok/ |access-date=23 May 2022 |website=Mahler Foundation |language=en-US |archive-date=27 May 2022 |archive-url=https://web.archive.org/web/20220527131609/https://mahlerfoundation.org/mahler/contemporaries/bela-bartok/ |url-status=live }}</ref>

In March 1927, he visited [[Barcelona]] and performed the ''Rhapsody for piano'' Sz.&nbsp;26 with the [[Orquestra Pau Casals]] at the [[Liceu|Gran Teatre del Liceu]].<ref name="Fontelles-Ramonet-2020">{{Cite journal|last=Fontelles-Ramonet|first=Albert|date=2020|title=La Cobla Barcelona (1922–1938). Un projecte noucentista|url=https://institutdelteatre.academia.edu/fontellesramonet|journal=Doctoral Thesis, PHD, Universitat Autònoma de Barcelona|access-date=6 January 2022|archive-date=5 January 2022|archive-url=https://web.archive.org/web/20220105091846/https://institutdelteatre.academia.edu/fontellesramonet|url-status=live}}</ref> During the same stay, he attended a concert by the {{ill|Cobla Barcelona|ca}} at the [[Palau de la Música Catalana]].<ref name="Fontelles-Ramonet-2020" /> According to the critic {{ill|Joan Llongueras i Badia|ca}}, "he was very interested in the [[Sardana|sardanas]], above all, the freshness, spontaneity and life of our music&nbsp;[...] he wanted to know the mechanism of the [[Catalan shawm|tenoras]] and the [[Tible|tibles]], and requested data on the composition of the [[cobla]] and extension and characteristics of each instrument".<ref name="Fontelles-Ramonet-2020" />

In 1927–1928, Bartók wrote his [[String Quartet No. 3 (Bartók)|Third]] and [[String Quartet No. 4 (Bartók)|Fourth String Quartets]], after which his compositions demonstrated his mature style. Notable examples of this period are ''[[Music for Strings, Percussion and Celesta]]'' (1936) and [[Divertimento for String Orchestra (Bartók)|Divertimento for String Orchestra]] (1939). The [[String Quartet No. 5 (Bartók)|Fifth String Quartet]] was composed in 1934, and the [[String Quartet No. 6 (Bartók)|Sixth String Quartet]] (his last) in 1939. In 1936 he travelled to [[Turkey]] to collect and study [[Turkish folk music]]. He worked in collaboration with Turkish composer [[Ahmet Adnan Saygun]] mostly around [[Adana]].{{sfn|Özgentürk|2008}}{{sfn|Sipos|2000}}

===World War II and final years (1940–1945)===
[[File:Béla Bartók 1943.jpg|thumb|Bartók in 1943]]
In 1940, as the European political situation worsened after the outbreak of [[World War II]], Bartók was increasingly tempted to flee Hungary. He strongly opposed the [[Nazis]] and Hungary's alliance with Germany and the [[Axis powers]] under the [[Tripartite Pact]]. After the Nazis came to power in 1933, Bartók refused to give concerts in Germany and broke away from his publisher there. His anti-fascist political views caused him a great deal of trouble with the establishment in Hungary. In his will recorded on 4&nbsp;October 1940, he requested that no square or street be named after him until the Budapest squares [[Oktogon (intersection)|Oktogon]] and [[Kodály körönd]], or in fact any square or street in Hungary, no longer bore the names of [[Benito Mussolini|Mussolini]] or [[Adolf Hitler|Hitler]], as they did at the time he wrote his will.<ref>{{cite journal | last1 = Szabó | first1 = Ferenc | date = September 1950 | title = Bartók nem alkuszik | url = http://db.zti.hu/mza_folyoirat/pdf/UZSz_1950_I_04.pdf | journal = Új Zenei Szemle | volume = 1 | issue = 4 | pages = 3–12 | access-date = 24 January 2023 | archive-date = 24 January 2023 | archive-url = https://web.archive.org/web/20230124161955/http://db.zti.hu/mza_folyoirat/pdf/UZSz_1950_I_04.pdf | url-status = live }}</ref> Having first sent his manuscripts out of the country, Bartók reluctantly emigrated to the US with his wife, Ditta, in October 1940. They settled in New York City after arriving on the night of 29–30&nbsp;October by a steamer from Lisbon. After joining them in 1942, their younger son Péter Bartók enlisted in the [[United States Navy]], where he served in the Pacific during the remainder of the war and later settled in Florida, where he became a recording and sound engineer. His elder son by his first marriage, Béla Bartók III, remained in Hungary and later worked as a railroad official until his retirement in the early 1980s.

Although he became an American citizen in 1945 shortly before his death,{{sfn|Gagné|2012|loc=[https://books.google.com/books?id=ppHoEX_6v10C&pg=PA28 p. 28]: "He became a U.S. citizen in 1945, but by then had developed leukemia, and he soon died..."}} Bartók never felt fully at home in the United States. He initially found it difficult to compose in his new surroundings. Although he was well known in America as a pianist, ethnomusicologist and teacher, he was not well known as a composer. There was little American interest in his music during his final years. He and his wife Ditta gave some concerts, but demand for them was low.<ref>{{Cite web |last=yalepress |date=30 June 2015 |title=Béla Bartók in America |url=https://yalebooks.yale.edu/2015/06/30/bela-bartok-in-america/ |access-date=16 August 2022 |website=Yale University Press |language=en-US |archive-date=16 August 2022 |archive-url=https://web.archive.org/web/20220816023256/https://yalebooks.yale.edu/2015/06/30/bela-bartok-in-america/ |url-status=live }}</ref> Bartók, who had made some recordings in Hungary, also recorded for [[Columbia Records]] after he came to the US; many of these recordings (some with Bartók's own spoken introductions) were later issued on LP and CD.{{sfn|Bartók|1994}}{{sfn|Bartók|1995a}}{{sfn|Bartók|1995b}}{{sfn|Bartók|2003}}{{sfn|Bartók|2007}}{{sfn|Bartók|2008}}{{sfn|Bartók|2016}}

Bartók was supported by a $3000-yearly research fellowship from [[Columbia University]] for several years (more than $32,000 in 2025 dollars).<ref>Jablonski, Edward. "Bartok's Full Trunk". HiFi/Stereo Review 11:4 (October 1963), 36.</ref> He and Ditta worked on a large collection of [[Serbian language|Serbian]] and [[Croatian language|Croatian]] folk songs in Columbia's libraries. Bartók's economic difficulties during his first years in America were mitigated by publication royalties, teaching and performance tours. While his finances were always precarious, he did not live and die in poverty as was the common myth. He had enough friends and supporters to ensure that there was sufficient money and work available for him to live on. Bartók was a proud man and did not easily accept charity. Despite being short on cash at times, he often refused money that his friends offered him out of their own pockets. Although he was not a member of the [[ASCAP]], the society paid for any medical care he needed during his last two years, to which Bartók reluctantly agreed. According to [[Edward Jablonski]]'s 1963 article, "At no time during Bartók's American years did his income amount to less than $4,000 a year" (about $43,000 in 2025 dollars).<ref>Jablonski, Edward. "Bartok's Full Trunk". HiFi/Stereo Review 11:4 (October 1963), 36.</ref>  The first symptoms of his health problems began late in 1940, when his right shoulder began to show signs of stiffening. In 1942, symptoms increased and he started having bouts of fever. Bartók's illness was at first thought to be a recurrence of the tuberculosis he had experienced as a young man, and one of his doctors in New York was Edgar Mayer, director of [[Will Rogers Memorial Hospital]] in [[Saranac Lake, New York|Saranac Lake]], but medical examinations found no underlying disease. Finally, in April 1944, [[leukemia]] was diagnosed, but by this time, little could be done.{{sfn|Chalmers|1995|pp=196–207}}

As his body slowly failed, Bartók found more creative energy and produced a final set of masterpieces, partly thanks to the violinist [[Joseph Szigeti]] and the conductor [[Fritz Reiner]] (Reiner had been Bartók's friend and champion since his days as Bartók's student at the Royal Academy). Bartók's last work might well have been the String Quartet No.&nbsp;6 but for [[Serge Koussevitzky]]'s [[commission (art)|commission]] for the [[Concerto for Orchestra (Bartók)|Concerto for Orchestra]]. Koussevitsky's [[Boston Symphony Orchestra]] premiered the work in December 1944 to highly positive reviews. The Concerto for Orchestra quickly became Bartók's most popular work, although he did not live to see its full impact.<ref>{{Cite web|title=Bartók's Concerto for Orchestra: a journey from darkness to light|url=https://bachtrack.com/feature-bartok-concerto-for-orchestra-concerto-budapest-keller-october-2019|access-date=18 February 2022|website=bachtrack.com|language=en|archive-date=18 February 2022|archive-url=https://web.archive.org/web/20220218004119/https://bachtrack.com/feature-bartok-concerto-for-orchestra-concerto-budapest-keller-october-2019|url-status=live}}</ref>

In 1944, he was also commissioned by [[Yehudi Menuhin]] to write a [[Sonata for Solo Violin (Bartók)|Sonata for Solo Violin]]. In 1945, Bartók composed his [[Piano Concerto No. 3 (Bartók)|Piano Concerto No.&nbsp;3]], a graceful and almost neo-classical work, as a surprise 42nd birthday present for Ditta, but he died just over a month before her birthday, with the scoring not quite finished. He had also sketched his [[Viola Concerto (Bartók)|Viola Concerto]], but had barely started the scoring at his death, leaving completed only the viola part and sketches of the orchestral part.
[[File:HUF 1000 1983 obverse.jpg|thumb|Béla Bartók's portrait on 1000 [[Hungarian forint]] banknote (printed between 1983 and 1992; no longer in circulation)|left]]
Béla Bartók died at age 64 in a hospital in New York City from complications of [[leukemia]] (specifically, of secondary [[polycythemia]]) on 26&nbsp;September 1945. His funeral was attended by only ten people. Aside from his widow and their son, other attendees included [[György Sándor]].<ref>{{wikicite|reference=2006. "[https://web.archive.org/web/20100906021534/http://www.juilliard.edu/update/journal/j_articles785.html Gyorgy Sandor, Pianist and Bartók Authority, Dies at 93]". ''The Juilliard Journal Online'' 21, no.&nbsp;5 (February) (archive from 6 September 2010; accessed 10 June 2020).}}</ref>

Bartók's body was initially interred in [[Ferncliff Cemetery]] in [[Hartsdale, New York]]. During the final year of communist Hungary in the late 1980s, the Hungarian government, along with his two sons, Béla III and Péter, requested that his remains be exhumed and transferred back to [[Budapest]] for burial, where Hungary arranged a [[state funeral]] for him on 7&nbsp;July 1988. He was re-interred at Budapest's [[Farkasréti Cemetery]], next to the remains of Ditta, who died in 1982, one year after what would have been Béla Bartók's 100th birthday.{{sfn|Chalmers|1995|p=214}}

The two unfinished works were later completed by his pupil [[Tibor Serly]]. György Sándor was the soloist in the first performance of the Third Piano Concerto on 8&nbsp;February 1946. Ditta Pásztory-Bartók later played and recorded it. The Viola Concerto was revised and published in the 1990s by Bartók's son; this version may be closer to what Bartók intended.{{sfn|Chalmers|1995|p=210}} Concurrently, Peter Bartók, in association with Argentine musician Nelson Dellamaggiore, worked to reprint and revise past editions of the Third Piano Concerto.{{sfn|Somfai|1996}}

==Music==
{{Further|List of compositions by Béla Bartók}}
Bartók's music reflects two trends that dramatically changed the sound of music in the 20th century: the breakdown of the [[diatonic]] system of harmony that had served composers for the previous two hundred years;{{sfn|Griffiths|1978|p=7}} and the revival of nationalism as a source for musical inspiration, a trend that began with [[Mikhail Glinka]] and [[Antonín Dvořák]] in the last half of the 19th century.{{sfn|Einstein|1947|p=332}} In his search for new forms of tonality, Bartók turned to Hungarian folk music, as well as to other folk music of the [[Carpathian Basin]] and even of Algeria and Turkey; in so doing he became influential in that stream of modernism which used indigenous music and techniques.{{sfn|Botstein|[n.d.]|loc=§6}}

One characteristic style of music is his [[Night music (Bartók)|Night music]], which he used mostly in slow movements of multi-movement ensemble or orchestral compositions in his mature period. It is characterised by "eerie [[Consonance and dissonance|dissonances]] providing a backdrop to sounds of nature and lonely melodies".{{sfn|Schneider|2006|p=84}} An example is the third movement (Adagio) of his ''Music for Strings, Percussion and Celesta''. His music can be grouped roughly in accordance with the different periods in his life.

===Early years (1890–1902)===
[[File:Bartók Béla 1903 (cropped).jpg|thumb|Bartók in 1903]]
The works of Bartók's youth were written in a classical and early romantic style touched with influences of popular and [[Romani people|romani]]
music.{{sfn|Citron|1963}}{{Page needed|date=September 2018}} Between 1890 and 1894 (9 to 13 years of age) he wrote 31 piano pieces.{{sfn|Gillies|2001}}<ref>{{Cite journal |last=László |first=Somfai |date=1992 |title=Problems of the Chronological Organization of the Béla Bartók Thematic Index in Preparation |url=https://www.jstor.org/stable/902287 |journal=Studia Musicologica Academiae Scientiarum Hungaricae |volume=T. 34 |issue=Fasc. 3/4 |pages=345–366 |doi=10.2307/902287 |jstor=902287 |via=JSTORE|url-access=subscription }}</ref> Although most of these were simple dance pieces, in these early works Bartók began to tackle some more advanced forms, as in his ten-part programmatic ''A Duna folyása'' ("The Course of the Danube", 1890–1894), which he played in his first public recital in 1892.{{sfn|Cooper|2015|p=11}}

In Catholic grammar school Bartók took to studying the scores of composers "from [[Bach]] to [[Wagner]]",{{sfn|Moreux|1974|p=18}} his compositions then advancing in style and taking on similarities to [[Schumann]] and [[Brahms]].{{sfn|Cooper|2015|p=14}} Following his matriculation into the Budapest Academy in 1890 he composed very little, though he began to work on exercises in orchestration and familiarized himself thoroughly with the operas of Wagner.{{sfn|Stevens|1993|p=12}} In 1902 his creative energies were revitalized by the discovery of the music of Richard Strauss, whose tone poem ''Also sprach Zarathustra'', according to Bartók, "stimulated the greatest enthusiasm in me; at last I saw the way that lay before me". Bartók also owned the score to [[Ein Heldenleben|''A Hero's Life'']], which he transcribed for the piano and committed to memory.{{sfn|Stevens|1993|pp=15–16}}

===New influences (1903–1911)===
Under the influence of Strauss, Bartók composed in 1903 [[Kossuth (Bartók)|''Kossuth'']], a symphonic poem in ten tableaux on the subject of the 1848 Hungarian war of independence, reflecting the composers growing interest in musical nationalism.{{sfn|Stevens|1993|p=17}} A year later he renewed his opus numbers with the [[Rhapsody, Op. 1 (Bartók)|''Rhapsody for Piano and Orchestra'']] serving as Opus&nbsp;1. Driven by nationalistic fervor and a desire to transcend the influence of prior composers, Bartók began a lifelong devotion to folk music, which was sparked by his overhearing nanny Lidi Dósa's singing of Transylvanian folk songs at a Hungarian resort in 1904.{{sfn|Stevens|1993|p=22}} Bartók began to collect Magyar peasant melodies, later extending to the folk music of other peoples of the Carpathian Basin, Slovaks, Romanians, Rusyns, Serbs and Croatians.{{sfn|Moreux|1974|p=60}} He used fewer and fewer romantic elements, in favour of an idiom that embodied folk music as intrinsic and essential to its style. Later in life he commented on the incorporation of folk and art music:{{sfn|Fisk|1997|p=271}}
<blockquote>
The question is, what are the ways in which peasant music is taken over and becomes transmuted into modern music? We may, for instance, take over a peasant melody unchanged or only slightly varied, write an accompaniment to it and possibly some opening and concluding phrases. This kind of work would show a certain analogy with Bach's treatment of chorales.&nbsp;... Another method&nbsp;... is the following: the composer does not make use of a real peasant melody but invents his own imitation of such melodies. There is no true difference between this method and the one described above.&nbsp;... There is yet a third way&nbsp;... Neither peasant melodies nor imitations of peasant melodies can be found in his music, but it is pervaded by the atmosphere of peasant music. In this case we may say, he has completely absorbed the idiom of peasant music which has become his musical mother tongue.
</blockquote>

Bartók became first acquainted with Debussy's music in 1907 and regarded his music highly. In an interview in 1939 Bartók said:{{sfn|Moreux|1953|p=92}}
<blockquote>
Debussy's great service to music was to reawaken among all musicians an awareness of harmony and its possibilities. In that, he was just as important as Beethoven, who revealed to us the possibilities of progressive form, or as Bach, who showed us the transcendent significance of counterpoint. Now, what I am always asking myself is this: is it possible to make a synthesis of these three great masters, a living synthesis that will be valid for our time?
</blockquote>
Debussy's influence is present in the Fourteen Bagatelles (1908). These made [[Ferruccio Busoni]] exclaim: "At last something truly new!"{{sfn|Bartók|1948|loc=2:83<!--It would be preferable to cite the letter from the English edition, for the benefit of readers not fluent in Hungarian.-->}} Until 1911, Bartók composed widely differing works which ranged from adherence to romantic style, to folk song arrangements and to his modernist opera ''Bluebeard's Castle''. The negative reception of his work led him to focus on folk music research after 1911 and abandon composition with the exception of folk music arrangements.{{sfn|Gillies|1993|p=404}}{{sfn|Stevens|1964|pp=47–49}}

===Inspiration and experimentation (1916–1921)===
[[File:A_kékszakállú_herceg_vára.jpg|thumb|Olga Haselbeck, Oszkár Kálmán (Bluebeard), Dezső Zádor and Béla Bartók after the premiere of ''[[Bluebeard's Castle]]'' in 1918]]
His pessimistic attitude towards composing was lifted by the stormy and inspiring contact with Klára Gombossy in the summer of 1915.{{sfn|Gillies|1993|p=405}} This interesting episode in Bartók's life remained hidden until it was researched by Denijs Dille between 1979 and 1989.{{sfn|Dille|1990|pp=257–277}} Bartók started composing again, including the Suite for piano opus&nbsp;14 (1916), and ''The Miraculous Mandarin'' (1919)<ref>{{Cite web |title=The Miraculous Mandarin Suite, Béla Bartók |url=https://www.laphil.com/musicdb/pieces/4161/the-miraculous-mandarin-suite |access-date=6 September 2023 |website=LA Phil |language=en |archive-date=6 September 2023 |archive-url=https://web.archive.org/web/20230906232608/https://www.laphil.com/musicdb/pieces/4161/the-miraculous-mandarin-suite |url-status=live }}</ref> and he completed ''The Wooden Prince'' (1917).<ref>{{Cite web |last=Glass |first=Herbert |date= |title=The Wooden Prince |url=https://www.laphil.com/musicdb/pieces/4207/the-wooden-prince |access-date=6 September 2023 |website=laphil.com |archive-date=6 September 2023 |archive-url=https://web.archive.org/web/20230906231953/https://www.laphil.com/musicdb/pieces/4207/the-wooden-prince |url-status=live }}</ref>

Bartók felt the result of World War I as a personal tragedy.{{sfn|Stevens|1993|p=3<!--If the page number is from the first edition of 1953, this may require correction. The ISBN cited in the bibliography was for the third edition of 1993.-->}} Many regions he loved were severed from [[Hungary]]: [[Transylvania]], the [[Banat]] (where he was born), and Bratislava (Pozsony, where his mother had lived). Additionally, the political relations between Hungary and other successor states to the [[Austro-Hungarian empire]] prohibited his folk music research outside of Hungary.{{sfn|Somfai|1996|p=18}} Bartók also wrote the noteworthy ''[[Eight Improvisations on Hungarian Peasant Songs]]'' in 1920 and the sunny ''[[Dance Suite (Bartók)|Dance Suite]]'' in 1923, the year of his second marriage.

==="Synthesis of East and West" (1926–1945)===
In 1926, Bartók needed a significant piece for piano and orchestra with which he could tour in Europe and America. He was particularly inspired by American composer [[Henry Cowell]]'s controversial use of intense [[tone clusters]] on the piano while touring western Europe. Bartók happened to be present at one of these concerts and (to avoid causing offence) later requested Cowell's permission to use his technique, which Cowell granted. In the preparation for writing his [[Piano Concerto No. 1 (Bartók)|first Piano Concerto]], he wrote his Sonata, ''[[Out of Doors (Bartók)|Out of Doors]]'', and ''Nine Little Pieces'', all for solo piano, and all of which prominently utilize clusters.{{sfn|Gillies|1993|p=173}} He increasingly found his own voice in his maturity. The style of his last period{{snd}} named "Synthesis of East and West"{{sfn|Gillies|1993|p=189}}{{snd}} is hard to define let alone to put under one term. In his mature period, Bartók wrote relatively few works but most of them are large-scale compositions for large settings. Only his voice works have programmatic titles and his late works often adhere to classical forms.

Among Bartók's most important works are the six [[List of string quartets by Béla Bartók|string quartets]] (1909, 1917, 1927, 1928, 1934, and 1939), the ''[[Cantata Profana]]'' (1930), which Bartók declared was the work he felt and professed to be his most personal "credo",{{sfn|Szabolcsi|1974|p=186}} the ''Music for Strings, Percussion and Celesta'' (1936),{{sfn|Gillies|2001}} the Concerto for Orchestra (1943) and the Third Piano Concerto (1945).{{sfn|Cooper|2015}}{{Page needed|date=January 2019}} He made a lasting contribution to the literature for younger students: for his son Péter's music lessons, he composed ''[[Mikrokosmos (Bartók)|Mikrokosmos]]'', a six-volume collection of graded piano pieces.{{sfn|Gillies|2001}}

==Musical analysis==
[[File:Bartok Bela Baja.jpg|thumb|right|Béla Bartók memorial plaque in [[Baja, Hungary]]]]
[[Paul Wilson (music theorist)|Paul Wilson]] lists as the most prominent characteristics of Bartók's music from late 1920s onwards the influence of the [[Carpathian basin]] and European art music, and his changing attitude toward (and use of) tonality, but without the use of the traditional [[Diatonic functionality|harmonic functions]] associated with major and minor scales.{{sfn|Wilson|1992|pp=2–4}}

Although Bartók claimed in his writings that his music was always tonal, he rarely used the chords or scales normally associated with tonality, and so the descriptive resources of tonal theory are of limited use. [[George Perle|George]] {{harvtxt|Perle|1955}} and Elliott {{harvtxt|Antokoletz|1984}} focus on his alternative methods of signaling tonal centers, via axes of [[Inversion (music)#Inversional equivalency|inversional symmetry]]. Others view Bartók's axes of symmetry in terms of atonal analytic protocols. [[Richard Cohn|Richard]] {{harvtxt|Cohn|1988}} argues that inversional symmetry is often a byproduct of another atonal procedure, the formation of chords from transpositionally related dyads. Atonal pitch-class theory also furnishes resources for exploring [[polymodal chromaticism]], [[projected set]]s, [[privileged pattern]]s, and large set types used as source sets such as the equal tempered twelve tone [[tone row#total chromatic|aggregate]], [[octatonic scale]] (and [[alpha chord]]), the diatonic and ''heptatonia secunda'' seven-note scales, and less often the whole tone scale and the primary pentatonic collection.{{sfn|Wilson|1992|pp=24–29}}

He rarely used the simple aggregate actively to shape musical structure, though there are notable examples such as the second theme from the first movement of his [[Violin Concerto No. 2 (Bartók)|Second Violin Concerto]], of which he commented that he "wanted to show [[Arnold Schoenberg|Schoenberg]] that one can use all twelve tones and still remain tonal".{{sfn|Gillies|1990|p=185}} More thoroughly, in the first eight measures of the last movement of his Second Quartet, all notes gradually gather with the twelfth (G{{music|♭}}) sounding for the first time on the last beat of measure 8, marking the end of the first section. The aggregate is partitioned in the opening of the Third String Quartet with C{{music|♯}}–D–D{{music|♯}}–E in the accompaniment (strings) while the remaining pitch classes are used in the melody (violin 1) and more often as 7–35 (diatonic or "white-key" collection) and 5–35 (pentatonic or "black-key" collection) such as in no. 6 of the ''Eight Improvisations''. There, the primary theme is on the black keys in the left hand, while the right accompanies with triads from the white keys. In measures 50–51 in the third movement of the Fourth Quartet, the first violin and cello play black-key chords, while the second violin and viola play stepwise diatonic lines.{{sfn|Wilson|1992|p=25}} On the other hand, from as early as the Suite for piano, Op. 14 (1914), he occasionally employed a form of [[serialism]] based on compound interval cycles, some of which are maximally distributed, multi-aggregate cycles.{{sfn|Martins|2006}}{{sfn|Gollin|2007}} [[Ernő Lendvai]] analyses Bartók's works as being based on two opposing tonal systems, that of the [[acoustic scale]] and the [[axis system]], as well as using the [[golden ratio|golden section]] as a structural principle.{{sfn|Lendvai|1971}}

[[Milton Babbitt]], in his 1949 review of Bartók's string quartets, criticized Bartók for using tonality and non-tonal methods unique to each piece. Babbitt noted that "Bartók's solution was a specific one, it cannot be duplicated".{{sfn|Babbitt|1949|p=385}} Bartók's use of "two organizational principles"—tonality for large scale relationships and the piece-specific method for moment to moment thematic elements—was a problem for Babbitt, who worried that the "highly attenuated tonality" requires extreme non-harmonic methods to create a feeling of closure.{{sfn|Babbitt|1949|pp=377–378}}

==Catalogues==
The cataloguing of Bartók's works is somewhat complex. Bartók assigned opus numbers to his works three times, the last of these series ending with the Sonata for Violin and Piano No. 1, Op. 21 in 1921. He ended this practice because of the difficulty of distinguishing between original works and ethnographic arrangements, and between major and minor works. Since his death, three attempts—two full and one partial—have been made at cataloguing. The first, and still most widely used, is [[András Szőllősy]]'s chronological Sz. numbers, from 1 to 121. {{ill|Denijs Dille|nl}} subsequently reorganised the juvenilia (Sz. 1–25) thematically, as DD numbers 1 to 77. The most recent catalogue is that of [[László Somfai]]; this is a chronological index with works identified by BB numbers 1 to 129, incorporating corrections based on the Béla Bartók Thematic Catalogue.

On 1 January 2016, Bartók's works entered the [[public domain]] in the [[European Union]].<ref>{{wikicite|reference=2016. [https://law.duke.edu/cspd/publicdomainday/2016/ Public Domain Day 2016]. [[Center for the Study of the Public Domain]] (accessed 15 October 2018)}}</ref>

==Discography==
Together with his like-minded contemporary [[Zoltán Kodály]], Bartók embarked on an extensive programme of field research to capture the folk and peasant melodies of [[Hungarian language|Magyar]], [[Slovak language|Slovak]] and [[Romanian language|Romanian]] language territories.{{sfn|Moreux|1974|p=60}} At first they transcribed the melodies by hand, but later they began to use a [[phonomotor]], a wax cylinder recording machine invented by [[Thomas Edison]].{{sfn|Bartók|2018}} Compilations of Bartók's field recordings, interviews, and original piano playing have been released over the years, largely by the Hungarian record label [[Hungaroton]]: 
* {{wikicite|ref={{harvid|Bartók|1994}}|reference=Bartók, Béla. 1994. ''Bartók at the Piano''. Hungaroton 12326. 6-CD set.}}
* {{wikicite|ref={{harvid|Bartók|1995a}}|reference=Bartók, Béla. 1995a. ''Bartók Plays Bartók – Bartók at the Piano 1929–41''. Pearl 9166. CD recording.}}
* {{wikicite|ref={{harvid|Bartók|1995b}}|reference=Bartók, Béla. 1995b. ''Bartók Recordings from Private Collections''. Hungaroton 12334. CD recording.}}
* {{wikicite|ref={{harvid|Bartók|2003}}|reference=Bartók, Béla. 2003. ''Bartók Plays Bartók''. Pearl 179. CD recording.}}
* Bartók, Béla. 2003. ''Bartók Sonata for 2 Pianos & Percussion, Suite for 2 Pianos.''  Apex 0927-49569-2. CD recording.
* {{wikicite|ref={{harvid|Bartók|2007}}|reference= Bartók, Béla. 2007. ''Bartók: Contrasts, Mikrokosmos''. Membran/Documents 223546. CD recording.}}
* {{wikicite|ref={{harvid|Bartók|2008}}|reference= Bartók, Béla. 2008. ''Bartók Plays Bartók''. Urania 340. CD recording.}}
* {{wikicite|ref={{harvid|Bartók|2016}}|reference= Bartók, Béla. 2016. ''Bartók the Pianist''. Hungaroton HCD32790-91. Two CDs. Works by Bartók, Domenico Scarlatti, Zoltán Kodály, and Franz Liszt.}}
A compilation of field recordings and transcriptions for two violas was also recently released by Tantara Records in 2014.<ref>{{harvnb|Tantara|2014}}.</ref>

On 18 March 2016 [[Decca Classics]] released ''Béla Bartók: The Complete Works'', the first ever complete compilation of all of Bartók's compositions, including new recordings of never-before-recorded early piano and vocal works. However, none of the composer's own performances are included in this 32-disc set.<ref>{{harvnb|Decca|2016}}.</ref>

==Statues and other memorials==
[[File:Statue of Béla Bartók, Makó.jpg|thumb|right|Statue of Bartók in [[Makó]], Hungary]]
[[File:Musik Meile Wien, Béla Bartók (30).jpg|thumb|220px|upright|Walk of Fame, [[Vienna]]]]<!--
[[File:Statue_at_South_Kensington_Béla_Bartók_1881-1945_Hungarian_composer.jpg|thumb|Statue at South Kensington, London SW7]]-->
* A statue of Bartók stands in [[Brussels]], Belgium, near the [[Brussels Central Station|central train station]] in a public square, Spanjeplein-Place d'Espagne.<ref>{{wikicite|reference=2014. [http://www.brusselsremembers.com/memorials/bela-bartok Statue: Béla Bartók]. Brussels Remembers: Memorials of Brussels (accessed 17 June 2014).}}</ref>{{sfn|Dicaire|2010|p=145}}
* A statue stands outside Malvern Court, London, south of the [[South Kensington tube station]], and just north of Sydney Place. An [[English Heritage]] [[blue plaque]], unveiled in 1997, now commemorates Bartók at 7 Sydney Place,  where he stayed when performing in London.<ref>{{wikicite|reference="[http://www.english-heritage.org.uk/discover/blue-plaques/search/bartok-bela-1881-1945 Bartók, Béla (1881–1945) Plaque erected in 1997 by English Heritage at 7 Sydney Place, South Kensington, London SW7 3NL, Royal Borough of Kensington and Chelsea]". English Heritage website (Accessed 19 October 2012).}}</ref>{{sfn|Jones|2012}}
* A statue of him was installed in front of the house in which Bartók spent his last eight years in Hungary, at Csalán út 29, in the hills above Budapest. It is now operated as the Béla {{ill|Bartók Memorial House|de|Béla-Bartók-Gedenkhaus}} (Bartók Béla Emlékház).{{sfn|Tudzin|2010}} Copies of this statue also stand in [[Makó]] (the closest Hungarian city to his birthplace, which is now in Romania), Paris, London and Toronto.<ref>{{cite web |title=Béla Bartók statue |url=https://www.trekearth.com/gallery/Europe/Hungary/West/Budapest/photo1510507.htm |website=www.trekearth.com |language=en |access-date=30 November 2021 |archive-date=30 November 2021 |archive-url=https://web.archive.org/web/20211130053600/https://www.trekearth.com/gallery/Europe/Hungary/West/Budapest/photo1510507.htm |url-status=live }}</ref>
* A bust and plaque located at his last residence, in New York City at 309 W. [[57th Street (Manhattan)|57th Street]], inscribed: "The Great Hungarian Composer / Béla Bartók / (1881–1945) / Made His Home In This House / During the Last Year of His Life".{{sfn|Matthews|2012}}
* A bust of him is located in the front yard of [[Ankara State Conservatory]], Ankara, Turkey, next to the bust of [[Ahmet Adnan Saygun]].<ref name=bachtrack>{{cite web |last1=Liscia-Beaurenaut |first1=Pierre |title=Retracing Bartók's footsteps: a statuesque world-tour |url=https://bachtrack.com/feature-bartok-statues-around-the-world-may-2021 |website=bachtrack.com |access-date=27 July 2022 |archive-url=https://web.archive.org/web/20220718063951/https://bachtrack.com/feature-bartok-statues-around-the-world-may-2021 |archive-date=18 July 2022 |language=en |date=5 May 2021 |url-status=live}}</ref>
* In 1999, Bartók was inducted into the [[American Classical Musical Hall of Fame]].<ref>{{cite web |title=Bartok, Bela |url=https://classicalwalkoffame.org/view-inductees/?id=8 |website=[[American Classical Music Hall of Fame]] |access-date=19 May 2025}}</ref>
* A bust of him is located in the front yard of [[Ankara State Conservatory]], Ankara, Turkey, next to the bust of [[Ahmet Adnan Saygun]].<ref name=bachtrack>{{cite web |last1=Liscia-Beaurenaut |first1=Pierre |title=Retracing Bartók's footsteps: a statuesque world-tour |url=https://bachtrack.com/feature-bartok-statues-around-the-world-may-2021 |website=bachtrack.com |access-date=27 July 2022 |archive-url=https://web.archive.org/web/20220718063951/https://bachtrack.com/feature-bartok-statues-around-the-world-may-2021 |archive-date=18 July 2022 |language=en |date=5 May 2021 |url-status=live}}</ref>
* A bronze statue of Bartók, sculpted by [[Imre Varga]] in 2005, stands in the front lobby of [[The Royal Conservatory of Music]], 273 Bloor Street West, Toronto, Ontario, Canada.
* A bronze bust of Bartók stands in the [[Anton Scudier Central Park]] in [[Timișoara]], Romania. This park has an "Alley of Personalities", set up in 2009 and featuring busts of famous "Romanians". Sânnicolau Mare (Nagyszentmiklós in Hungarian), the small town where Bartók was born in 1881, is situated some 58 kilometres north-west of Timișoara, and is just inside Romania today, near the border with Hungary.
* A statue of Bartók, sculpted by Imre Varga, stands near the river [[Seine]] in the public park at {{ill|Square Béla-Bartók|fr}}, 26 place de Brazzaville, in Paris, France.<ref>{{wikicite|reference="[http://www.eutouring.com/square_bela_bartok.html Square Béla Bartók in Paris]" Eutouring.com website (2 August) (accessed 4 July 2014).}}</ref>
* Also to be noted, in the same park, a sculptural transcription of the composer's research on tonal harmony, the fountain/sculpture ''Cristaux'' designed by [[Jean-Yves Lechevallier]] in 1980.
* An expressionist sculpture by Hungarian sculptor [[András Beck]] in {{ill|Square Henri-Collet|fr}}, Paris [[16th arrondissement of Paris|16th arrondissement]].
* A statue of him also stands in the city centre of [[Târgu Mureș]], Romania.<ref name=bachtrack/>
* A statue (seated) of Bartók is also situated in front of {{ill|Nákó Castle|hu|Nákó-kastély}}, in his hometown, [[Nagyszentmiklós]].<ref>{{Cite web|url=https://voceatimisului.ro/statuia-compozitorului-bela-bartok-dezvelita-in-fata-castelului-din-sannicolau-mare-ce-personalitati-au-luat-parte-la-eveniment/|title=Statuia compozitorului Béla Bartók, dezvelită în fața castelului din Sânnicolau Mare. Ce personalități au luat parte la eveniment|date=6 September 2015|lang=ro|access-date=12 June 2021|archive-date=28 September 2021|archive-url=https://web.archive.org/web/20210928165930/https://voceatimisului.ro/statuia-compozitorului-bela-bartok-dezvelita-in-fata-castelului-din-sannicolau-mare-ce-personalitati-au-luat-parte-la-eveniment/|url-status=live}}</ref>
* Bartok has star on the Walk of Fame on Karlsplatz-Passage in [[Vienna]].<ref>{{cite web | url=https://austria-forum.org/af/Bilder_und_Videos/Bilder_Wien/1010_Gedenktafeln/4086 | title=Bela Bartok-Gedenkstern }}</ref>

==References==
===Citations===
{{Reflist}}

===Sources===
{{refbegin}}
* {{wikicite|ref={{harvid|Antokoletz|1984}}|reference=Antokoletz, Elliott. 1984. ''The Music of Béla Bartók: A Study of Tonality and Progression in Twentieth-Century Music''. Berkeley and Los Angeles: University of California Press. {{ISBN|978-0-520-04604-7}}.}}
* {{wikicite|ref={{harvid|Babbitt|1949}}|reference=[[Milton Babbitt|Babbitt, Milton]]. 1949. "The String Quartets of Bartók". ''Musical Quarterly'' 35 (July): 377–85. Reprinted in ''The Collected Essays of Milton Babbitt'', edited by Stephen Peles, with Stephen Dembski, Andrew Mead, and Joseph N. Straus, [http://press.princeton.edu/chapters/s7616.pdf 1–9]. Princeton: Princeton University Press, 2003. {{ISBN|978-0-691-08966-9}}.}}
* {{wikicite|ref={{harvid|Bartók|1948}}|reference=Bartók, Béla. 1948. ''Levelek, fényképek, kéziratok, kották.'' [Letters, photographs, manuscripts, scores], ed. János Demény, 2 vols. A Muvészeti Tanács könyvei, 1.–2. sz. Budapest: Magyar Muvészeti Tanács. English edition, as ''Béla Bartók: Letters'', translated by Péter Balabán and István Farkas; translation revised by Elisabeth West and Colin Mason (London: Faber and Faber Ltd.; New York: St. Martin's Press, 1971). {{ISBN|978-0-571-09638-1}}}}
* {{wikicite|ref={{harvid|Bartók|1976}}|reference=Bartók, Béla. 1976. ''Essays'', selected and edited by Benjamin Suchoff. The New York Bartók Archive Studies in Musicology, No. 8. London: Faber & Faber; New York: St. Martin's Press. {{ISBN|978-0-571-10120-7}}.}}
* {{wikicite|ref={{harvid| Bartók|2018}}|reference=Bartók, Béla. 2018. {{citation |location=London |publisher=[[Wise Music Group#Chester Music|Chester Music]]|title=Romanian Folk Dances |type=Sheet music}}.}}
* {{cite AV media|title=Bartók: Complete Works|publisher=Decca Records|oclc=945742125|year=2016|ref={{harvid|Decca|2016}}}}
* {{wikicite|ref={{harvid|Botstein|[n.d.]}}|reference=[[Leon Botstein|Botstein, Leon]]. [n.d.]  "Modernism", ''Grove Music Online'', ed. L. Macy (Accessed 29 April 2008), [http://www.grovemusic.com (subscription access)].}}
* {{wikicite|ref={{harvid|Chalmers|1995}}|reference=Chalmers, Kenneth. 1995. ''Béla Bartók''. 20th-Century Composers. London: Phaidon Press. {{ISBN|978-0-7148-3164-0}} (pbk).}}
* {{Cite book|last=Citron|first=Pierre|title=Bartok.|date=1963|publisher=Editions du Seuil|location=Paris|language=en|oclc=1577771}}
* {{wikicite|ref={{harvid|Cohn|1988}}|reference=Cohn, Richard, 1988. "Inversional Symmetry and Transpositional Combination in Bartók." ''Music Theory Spectrum'' 10:19–42.}}
* {{wikicite|ref={{harvid|Cooper|2015}}|reference=Cooper, David. 2015. ''Béla Bartók''. New Haven and London: Yale University Press. {{ISBN|978-0-300-21307-2}}.}}
* {{Cite AV media notes|title=Béla Bartók: Solo Piano Works|others=Béla Bartók|date=1999|chapter=Béla Bartók: A Biography|chapter-url=http://www.bartokcds.com/bio.html|first=June|last=de Toth|type=liner notes|publisher=Eroica Classical Recordings|oclc=29737219|id=JDT 3136|access-date=14 April 2007|archive-date=8 April 2007|archive-url=https://web.archive.org/web/20070408124358/http://www.bartokcds.com/bio.html|url-status=dead}}
* {{wikicite|ref={{harvid|Dicaire|2010}}|reference=Dicaire, David. 2010. ''The Early Years of Folk Music: Fifty Founders of the Tradition''. Jefferson, N.C.: McFarland. {{ISBN|978-0-7864-5737-3}}.}}
* {{wikicite|ref={{harvid|Dille|1990}}|reference=Dille, Denijs. 1990. Béla Bartók: Regard sur le Passé. (French, no English version available). Namur: Presses universitaires de Namur. {{ISBN|978-2-87037-168-8|978-2-87037-168-8}}.}}
* {{wikicite|ref={{harvid|Einstein|1947}}|reference=[[Alfred Einstein|Einstein, Alfred]]. 1947. ''Music in the Romantic Era''. New York: W. W. Norton.}}
* {{wikicite|ref={{harvid|Fisk|1997}}|reference=Fisk, Josiah (ed.). 1997. ''Composers on Music: Eight Centuries of Writings: A New and Expanded Revision of Morgenstern's Classic Anthology''. Boston: Northeastern University Press. {{ISBN|978-1-55553-279-6}}.}}
* {{wikicite|ref={{harvid|Gagné|2012}}|reference=Gagné, Nicole V. 2012. ''Historical Dictionary of Modern and Contemporary Classical Music''. Historical Dictionaries of Literature and the Arts. Lanham, Maryland: Scarecrow Press. {{ISBN|978-0-8108-6765-9}}.}}
*{{wikicite|ref={{harvid|Getting|2020}}|reference=Getting, Peter. 2020. [https://plus.sme.sk/c/22398037/slovenske-poklady-zozbieral-skladatel-svetoveho-mena.html Zomieral s pocitom, že jeho práca bola daromná. Našťastie nebula. Bartók zanechal monumentálne dielo]. SME.sk (accessed 9 May 2020).}}
* {{wikicite|ref={{harvid|Gillies|1990}}|reference=[[Malcolm Gillies|Gillies, Malcolm]] (ed.). 1990. ''Bartók Remembered''. London: Faber. {{ISBN|978-0-571-14243-9}} (cased) {{ISBN|978-0-571-14244-6}} (pbk).}}
* {{wikicite|ref={{harvid|Gillies|1993}}|reference=Gillies, Malcolm (ed.). 1993. ''The Bartók Companion''. London: Faber. {{ISBN|978-0-571-15330-5}} (cloth), {{ISBN|978-0-571-15331-2}} (pbk); New York: Hal Leonard. {{ISBN|978-0-931340-74-1}}.}}
* {{wikicite|ref={{harvid|Gillies|2001}}|reference=Gillies, Malcolm. 2001. "Béla Bartók". ''The New Grove Dictionary of Music and Musicians'', second edition, edited by [[Stanley Sadie]] and [[John Tyrrell (musicologist)|John Tyrrell]]. London: Macmillan Publishers. Also in ''Grove Music Online'', ed. L. Macy (Accessed 23 May 2006), [http://www.grovemusic.com (subscription access)].}}
* {{wikicite|ref={{harvid|Gollin|2007}}|reference=Gollin, Edward. 2007. "Multi-Aggregate Cycles and Multi-Aggregate Serial Techniques in the Music of Béla Bartók". ''Music Theory Spectrum'' 29, no. 2 (Fall): 143–76.}}
* {{wikicite|ref={{harvid|Griffiths|1978}}|reference=[[Paul Griffiths (writer)|Griffiths, Paul]]. 1978. ''A Concise History of Modern Music''. London: Thames and Hudson. {{ISBN|978-0-500-20164-0}}.}}
* {{wikicite|ref={{harvid|Griffiths|1988}}|reference=Griffiths, Paul. 1988. ''Bartók''. London: JM Dent & Sons Ltd.}}
* {{wikicite|ref={{harvid|Hooker|2001}}|reference=Hooker, Lynn. 2001. "The Political and Cultural Climate in Hungary at the Turn of the Twentieth Century". In ''[https://books.google.com/books?id=4uInwtVVfxMC The Cambridge Companion to Bartók]'', edited by Amanda Bayley, 7–23. [[Cambridge Companions to Music]]. Cambridge and New York: Cambridge University Press. {{ISBN|978-0-521-66010-5}} (cloth); {{ISBN|978-0-521-66958-0}} (pbk).}}
* {{wikicite|ref={{harvid|Hughes|2001}}|reference=Hughes, Peter. 2001. "[https://web.archive.org/web/20131207194032/https://www25.uua.org/uuhs/duub/articles/belabartok.html Béla Bartók]" in ''Dictionary of Unitarian and Universalist Biography''. [n.p.]: Unitarian Universalist Historical Society. Archive from 7 December 2013 (accessed 24 October 2017).}}
* {{wikicite|ref={{harvid|Hughes|2007}}|reference=Hughes, Peter. 2007. "[https://books.google.com/books?id=w5vIopoWMaUC&pg=PA21 Béla Bartók: Composer (1881–1945)]". In ''Notable American Unitarians 1936–1961'', edited by Herbert Vetter, 21–22. Cambridge: Harvard Square Library. {{ISBN|978-0-615-14784-0}}.}}
* {{wikicite|ref={{harvid|Jones|2012}}|reference=Jones, Tom. 2012. "[http://www.tiredoflondontiredoflife.com/2012/10/see-bela-bartok.html See Béla Bartók]". Tired of London, Tired of Life blog site (8 October) (accessed 4 July 2014).}}
* {{wikicite|ref={{harvid|Kory|2007}}|reference=Kory, Agnes. 2007. "[http://www.bbcm.co.uk/main/fiddle.htm#1 Kodály, Bartók, and Fiddle Music in Bartók's Compositions]".  Béla Bartók Centre for Musicianship website (accessed 27 September 2018).}}
* {{wikicite|ref={{harvid|Lendvai|1971}}|reference=[[Ernő Lendvai|Lendvai, Ernő]]. 1971. ''Béla Bartók: An Analysis of His Music'', introduced by [[Alan Bush]]. London: Kahn & Averill. {{ISBN|978-0-900707-04-9}} {{oclc|240301}}.}}
* {{wikicite|ref={{harvid|Martins|2006}}|reference=Martins, José António Oliveira. 2006. "Dasian, Guidonian, and Affinity Spaces in Twentieth-century Music". Ph.D. diss. Chicago: University of Chicago.}}
* {{wikicite|ref={{harvid|Matthews|2012}}|reference=Matthews, Peter. 2012. "[http://www.feastofmusic.com/feast_of_music/2012/01/bart%C3%B3k-in-new-york.html Bartók in New York]". Feast of Music website (accessed 26 September 2018).}}{{unreliable source?|reason=blog site|date=September 2018}}
* {{wikicite|ref={{harvid|Maurice|2004}}|reference=Maurice, Donald. 2004. ''[https://books.google.com/books?id=sI4sRzCR-s8C&pg=PA205 Bartók's Viola Concerto: The Remarkable Story of His Swansong]''. Oxford and New York: Oxford University Press. {{ISBN|9780195348118}} (accessed 19 October 2017)}}
* {{wikicite|ref={{harvid|Moreux|1953}}|reference=Moreux, Serge. 1953. ''Béla Bartók'', translated [[G. S. Fraser]] and [[Erik de Mauny]]. London: The Harvill Press.}}
* {{wikicite|ref={{harvid|Moreux|1974}}|reference=Moreux. 1974. ''Béla Bartók'', translated [[G. S. Fraser]] and [[Erik de Mauny]], with a preface by [[Arthur Honegger]]. Partial reprint of {{harvtxt|Moreux|1953}}. New York: Vienna House.}}
* {{wikicite|ref={{harvid|Móser|2006a}}|reference=Móser, Zoltán. 2006a. "[http://epa.oszk.hu/00700/00713/00175/pdf/2006_03.pdf Szavak, feliratok, kivonatok]". ''Tiszatáj'' 60, no. 3 (March): 41–45.}}
* {{wikicite|ref={{harvid|Özgentürk|2008}}|reference=[[Nebil Özgentürk|Özgentürk, Nebil]]. 2008. ''Türkiye'nin Hatıra Defteri'', episode 3. Istanbul: Bir Yudum İnsan Prodüksiyon LTD. ȘTİ. Turkish CNN television documentary series.}}
* {{wikicite|ref={{harvid|Perle|1955}}|reference=[[George Perle|Perle, George]]. 1955. "Symmetrical Formations in the String Quartets of Béla Bartók". ''Music Review'' 16, no. 4 (November 1955). Reprinted in ''The Right Notes: Twenty-Three Selected Essays by George Perle on Twentieth-Century Music'', foreword by Oliver Knussen, introduction by David Headlam, 189–205. Monographs in Musicology. Stuyvesant, NY: Pendragon Press. {{ISBN|978-0-945193-37-1}}.}}
* {{wikicite|ref={{harvid|Rockwell|1982}}|reference=[[John Rockwell|Rockwell, John]]. 1982. "Kodaly Was More Than a Composer". ''The New York Times'' (12 December).}}
* {{wikicite|ref={{harvid|Rodda|1990–2018}}|reference=Rodda, Richard E. 1990–2018. "[http://www.kennedy-center.org/artist/composition/2236 String Quartet No. 1 in A minor, Op. 7/Sz 40: About the Work]". The Kennedy Center website (accessed 27 September 2018).}}
* {{wikicite|ref={{harvid|Schneider|2006}}|reference=Schneider, David E. 2006. ''Bartók, Hungary, and the Renewal of Tradition: Case Studies in the Intersection of Modernity and Nationality''. California Studies in 20th-Century Music 5. Berkeley: University of California Press. {{ISBN|978-0-520-24503-7}}.}}
* {{wikicite|ref={{harvid|Sipos|2000}}|reference=Sipos, János (ed.). 2000. ''In the Wake of Bartók in Anatolia 1: Collection Near Adana''. Budapest: Ethnofon Records.}}
* {{wikicite|ref={{harvid|Somfai|1996}}|reference=[[László Somfai|Somfai, László]]. 1996. ''Béla Bartók: Composition, Concepts, and Autograph Sources''. Ernest Bloch Lectures in Music 9. Berkeley : University of California Press. {{ISBN|978-0-520-08485-8}}.}}
* {{wikicite|ref={{harvid|Stevens|1964}}|reference=Stevens, Halsey. 1964. ''The Life and Music of Béla Bartók'', second edition. New York: Oxford University Press. ASIN: B000NZ54ZS}}
* {{wikicite|ref={{harvid|Stevens|1993}}|reference=Stevens, Halsey. 1993. ''The Life and Music of Béla Bartók'', third edition, prepared by Malcolm Gillies. New York: Oxford University Press. {{ISBN|9780198163497}}.}}
* {{wikicite|ref={{harvid|Stevens|2018}}|reference=Stevens, Halsey. 2018. "[https://www.britannica.com/biography/Bela-Bartok#ref84023 Béla Bartók: Hungarian Composer]". ''Encyclopædia Britannica'' online (accessed 27 September 2018).}}
* {{wikicite|ref={{harvid|Suchoff|2001}}|reference=Suchoff, Benjamin. 2001 ''[https://books.google.com/books?id=a1YQBD2ERgUC Béla Bartók: Life and Work]''. Lanham, Maryland: Scarecrow Press. {{ISBN|978-0-8108-4076-8}} – via Google Books. (2001) (accessed 29 July 2019).}}
* {{wikicite|ref={{harvid|Szabolcsi|1974}}|reference=Szabolcsi, Bence. 1974. "Bartók Béla: Cantata profana". In ''Miért szép századunk zenéje?'' (Why is the music of the Twentieth century so beautiful?), edited by György Kroó, {{Page needed|date=March 2020|reason=Inclusive page numbers of Szabolcsi's contribution are needed}}. Budapest: Gondolat {{isbn|978-963-280-015-8}}}}
*{{wikicite|ref={{harvid|Szekernyés|2017}}|reference=Szekernyés János. 2017. "[https://muvelodes.net/enciklopedia/bartokek-nagyszentmikloson Bartókék Nagyszentmiklóson]" [Bartók in Nagyszentmiklós]. ''Művelődés'' 70 (July) (accessed 10 March 2019).}}
* {{wikicite|ref={{harvid|Tudzin|2010}}|reference=Tudzin, Jessica Taylor. 2010. "[https://web.archive.org/web/20140714181240/http://www.bohemianink.net/?p=1384 Schooled in Bartók]". Bohemian Ink blog site (2 August) (accessed 4 July 2014).}}
* {{cite AV media|title=Voices From The Past: Béla Bartók's 44 Duos & Original Field Recordings|publisher=[[Tantara Records]]|year=2014|oclc=868907693|ref={{harvid|Tantara|2014}}}}
*{{cite book|title=Richard Strauss: An intimate Portrait|last1=Wilhelm|first1=Kurt|date=1989|publisher=Thames and Hudson|location=London}}
* {{wikicite|ref={{harvid|Wilson|1992}}|reference=Wilson, Paul. 1992. ''The Music of Béla Bartók''. New Haven: Yale University Press. {{ISBN|978-0-300-05111-7}}.}}
{{refend}}

==Further reading==
{{refbegin}}
* {{wikicite|reference="[https://www.arcanum.hu/hu/online-kiadvanyok/Nagyivan-nagy-ivan-magyarorszag-csaladai-1/kilencedik-kotet-796B/polereczky-csalad-85C6/#Nagyivan%5EDestination-1667 Polereczky család]". Arcanum.hu website (accessed 30 December 2019).}}
* Bartók, Béla. 1976. "The Influence of Peasant Music on Modern Music (1931)". In ''Béla Bartók Essays'', edited by Benjamin Suchoff, 340–44. London: [[Faber & Faber]]. {{ISBN|978-0-571-10120-7}} {{oclc|60900461}}
* <!-- {{wikicite|ref={{harvid|Bartók|1981}}|reference= -->Bartók, Béla. 1981. ''[https://books.google.com/books?id=DxsJAQAAMAAJ&q=szuhafo+bartok The Hungarian Folk Song] {{Webarchive|url=https://web.archive.org/web/20231004150731/https://books.google.com/books?id=DxsJAQAAMAAJ&q=szuhafo+bartok |date=4 October 2023 }}'', second English edition, edited by Benjamin Suchoff, translated by Michel D. Calvocoressi, with annotations by Zoltán Kodály. The New York Bartók Archive Studies in Musicology 13. Albany: State University of New York Press. <!-- }} -->
* Bartók, Peter. 2002. "My Father". Homosassa, Florida, Bartók Records ({{ISBN|978-0-9641961-2-4}}).
* <!-- {{wikicite|ref={{harvid|Bayley|2001}}|reference= -->Bayley, Amanda (ed.). 2001. ''[https://books.google.com/books?id=4uInwtVVfxMC&pg=PA16 The Cambridge Companion to Bartók] {{Webarchive|url=https://web.archive.org/web/20231004150747/https://books.google.com/books?id=4uInwtVVfxMC&pg=PA16#v=onepage&q&f=false |date=4 October 2023 }}''. [[Cambridge Companions to Music]]. Cambridge and New York: Cambridge University Press. {{ISBN|978-0-521-66010-5}} (cloth); {{ISBN|978-0-521-66958-0}} (pbk). <!-- }} -->
* Bónis, Ferenc. 2006. ''[https://books.google.com/books?id=W7-iAQAACAAJ&q=%C3%89LET-K%C3%89PEK:+BART%C3%93K+B%C3%89LA Élet-képek: Bartók Béla] {{Webarchive|url=https://web.archive.org/web/20231004150739/https://books.google.com/books?id=W7-iAQAACAAJ&q=%C3%89LET-K%C3%89PEK:+BART%C3%93K+B%C3%89LA |date=4 October 2023 }}''. Budapest: Balassi Kiadó: Vávi Kft., Alföldi Nyomda Zrt. {{ISBN|978-963-506-649-0}}.
* Boys, Henry. 1945. "Béla Bartók 1881–1945". ''[[The Musical Times]]'' 86, no. 1233 (November): 329–31.
* Cohn, Richard, 1992. "Bartók's Octatonic Strategies: A Motivic Approach." ''Journal of the American Musicological Society'' 44
* Czeizel, Endre. 1992. ''Családfa: honnan jövünk, mik vagyunk, hová megyünk?'' [Budapest]: Kossuth Könyvkiadó. {{ISBN|978-963-09-3569-2}}
* <!-- {{wikicite|ref={{harvid|Decca|2016}}|reference= -->Decca. 2016. "[http://www.deccaclassics.com/gb/cat/4789311 Béla Bartók: Complete Works: Int. Release 18 Mar. 2016: 32 CDs, 0289 478 9311 0] {{Webarchive|url=https://web.archive.org/web/20160820095955/http://www.deccaclassics.com/gb/cat/4789311 |date=20 August 2016 }}". Welcome to Decca Classics: Catalogue, www.deccaclassics.com (accessed 19 August 2016).<!-- }} -->
* Fassett, Agatha, 1958. ''The Naked Face of Genius: Béla Bartók's American Years.'' Boston: Houghton Mifflin.
* Jyrkiäinen, Reijo. 2012. "Form, Monothematicism, Variation and Symmetry in Béla Bartók's String Quartets". Ph.D. diss. Helsinki: University of Helsinki. {{ISBN|978-952-10-8040-1}} ([https://web.archive.org/web/20121012085705/https://helda.helsinki.fi/handle/10138/33683 Abstract]).
* Kárpáti, János. 1975. ''Bartók's String Quartets'', translated by Fred MacNicol. Budapest: Corvina Press.
* Kasparov, Andrey. 2000. "Third Piano Concerto in the Revised 1994 Edition: Newly Discovered Corrections by the Composer". ''Hungarian Music Quarterly'' 11, nos. 3–4:2–11.
* Leafstedt, Carl S. 1999. ''Inside Bluebeard's Castle''. New York: Oxford University Press. {{ISBN|978-0-19-510999-3}}
* <!-- {{wikicite|ref={{harvid|Lendvai|1972}}|reference= -->Lendvai, Ernő. 1972. "Einführung in die Formen- und Harmoniewelt Bartóks" (1953). In his ''Béla Bartók: Weg und Werk'', edited by [[Bence Szabolcsi]], 105–49. Kassel: Bärenreiter.<!-- }} -->
* Loxdale, Hugh D., and Adalbert Balog. 2009. "Béla Bartók: Musician, Musicologist, Composer, and Entomologist!." ''Antenna'' – Bulletin of the [[Royal Entomological Society of London]] 33, no. 4:175–82.
* <!-- {{wikicite|ref={{harvid|Maconie|2005}}|reference= -->[[Robin Maconie|Maconie, Robin]]. 2005. ''Other Planets: The Music of Karlheinz Stockhausen''. Lanham, MD, Toronto, Oxford: The Scarecrow Press, Inc. {{ISBN|978-0-8108-5356-0}}.<!-- }} -->
* <!-- {{wikicite|ref={{harvid|Martins|2015}}|reference= -->Martins, José Oliveira. 2015. "Bartók's Polymodality: the Dasian and other Affinity Spaces". ''Journal of Music Theory'' 59, no. 2 (October): 273–320. <!-- }} -->
* Móser, Zoltán. 2006b. "Bartók-õsök Gömörben". [http://www.hnm.hu/honismeret/folyoirat/2006-2-honismeret1.pdf ''Honismeret: A Honismereti Szövetség folyóirata'' ]{{dead link|date=November 2017 |bot=InternetArchiveBot |fix-attempted=yes }} 34, no. 2 (April): 9–11.
* [http://digitalcommons.cedarville.edu/musicalofferings/vol3/iss2/2 Nelson, David Taylor (2012). "Béla Bartók: The Father of Ethnomusicology", Musical Offerings: Vol. 3: No. 2, Article 2.] {{Webarchive|url=https://web.archive.org/web/20131206044051/http://digitalcommons.cedarville.edu/musicalofferings/vol3/iss2/2/ |date=6 December 2013 }}
* Sluder, Claude K. 1994. "Revised Bartók Composition Highlights Pro Musica Concert". ''[[The Republic (Columbus)|The Republic]]'' (16 February).
* <!-- {{wikicite|ref={{harvid|Smith|1965}}|reference= -->Smith, Erik. 1965. ''A discussion between [[István Kertész (conductor)|István Kertész]] and the producer''. DECCA Records (liner notes for ''[[Bluebeard's Castle]]'').<!-- }} -->
* Somfai, László. 1981. ''Tizennyolc Bartók-tanulmány'' [Eighteen Bartók Studies]. Budapest: Zeneműkiadó. {{ISBN|978-963-330-370-2}}.
* Wells, John C. 1990. "Bartók", in ''Longman Pronunciation Dictionary'', 63. Harlow, England: Longman. {{ISBN|978-0-582-05383-0}}
{{refend}}

==External links==
{{Archival records|title=Etelka Freund collection on Béla Bartók, 1904–1950|location= [[Music Division, Library of Congress]]|description_URL=https://lccn.loc.gov/2006579400}}
{{Commons category}}
{{Wikiquote}}
* {{Internet Archive author |sname=Béla Bartók}}
* [http://www.bartokmuseum.hu Bartók Béla Memorial House, Budapest] {{Webarchive|url=https://web.archive.org/web/20070912060931/http://www.bartokmuseum.hu/ |date=12 September 2007 }}
* [http://bartok.kbr.be The Belgian Bartók Archives, housed in the Brussels Royal Library and founded by Denijs Dille] {{Webarchive|url=https://web.archive.org/web/20110628141259/http://bartok.kbr.be/ |date=28 June 2011 }}
* {{BBC composer page|bartok|Bartók}}
* {{usurped|1=[https://web.archive.org/web/20070927070327/http://www.gallery-diabolus.com/gallery/artist.php?language=english&id=utisz&page=205%2F Gallery of Bartók portraits]}}
* [https://web.archive.org/web/20160312045308/http://www.zti.hu/bartok/exhibition/main.htm Virtual Exhibition on Bartók]
* [https://findingaids.library.columbia.edu/ead/nnc-rb/ldpd_4079017 Finding aid to Béla Bartók manuscripts at Columbia University. Rare Book & Manuscript Library.]
{{ContemporaryMusicOnline|Bartok|works}}
* {{IMSLP|Bartók, Béla}}
* [http://www.soundfountain.org/rem/dongabor2.html#bartok Bartók plays Bartók for Don Gabor's Continental record label later reissued on Remington Records] {{Webarchive|url=https://web.archive.org/web/20180616193628/http://www.soundfountain.org/rem/dongabor2.html#bartok |date=16 June 2018 }}
* [https://www.explorethescore.org/pgs/bartok/inside_the_score/inside_the_score_homepage.html Interactive scores of Bartók's works for piano with Sir András Schiff.]

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