composerStyle
P53017
predicate
Indicates that one entity is a composer and the other represents the musical style or genre characteristic of that composer's work.
All labels observed (5)
| Label | Occurrences |
|---|---|
| composerStyle canonical | 98 |
| associatedComposerStyle | 19 |
| composerStyleCharacteristic | 8 |
| hasComposerStyleTrait | 6 |
| composerStyleContext | 2 |
Description generation (PDg)
The one-sentence description above was generated by prompting gpt-5.1 with the predicate name and this instruction.
Instruction
Given a predicate that represents a relationship or action between entities, generate a one-sentence description explaining its meaning. # Instructions Focus on describing the relationship, not the entities themselves. # Response Format Begin the description with \' Indicates...\'
Input
Predicate: composerStyle
Generated description
Indicates that one entity is a composer and the other represents the musical style or genre characteristic of that composer's work.
Sample triples (133)
| Subject | Object |
|---|---|
| Piano Concerto | John Harbison’s distinctive contemporary style ⓘ |
|
Symphony No. 3 (Harbison)
linked to:
Symphony No. 3
|
neo-romantic influences ⓘ |
|
Symphony No. 3 (Harbison)
linked to:
Symphony No. 3
|
modern tonal language ⓘ |
| Symphony No. 2 | contemporary yet accessible symphonic style ⓘ |
| No Mercy (1986 film score) | use of suspenseful orchestration via predicate surface "composerStyleCharacteristic" ⓘ |
| No Mercy (1986 film score) | use of atmospheric textures via predicate surface "composerStyleCharacteristic" ⓘ |
| No Mercy (1986 film score) | cinematic orchestral writing via predicate surface "composerStyleCharacteristic" ⓘ |
| Poltergeist (1982 film score) | late-romantic orchestral writing ⓘ |
| Poltergeist (1982 film score) | avant-garde orchestral textures ⓘ |
| L.A. Confidential (1997 film score) | Jerry Goldsmith’s late-career film noir scoring style ⓘ |
| The Wind and the Lion (1975 film score) | complex rhythms via predicate surface "hasComposerStyleTrait" ⓘ |
| The Wind and the Lion (1975 film score) | innovative orchestration via predicate surface "hasComposerStyleTrait" ⓘ |
| The Wind and the Lion (1975 film score) | strong thematic development via predicate surface "hasComposerStyleTrait" ⓘ |
| Cocoon (film score) | lyrical thematic writing ⓘ |
| Cocoon (film score) | use of rich string writing ⓘ |
| Cocoon (film score) | prominent use of brass and woodwinds ⓘ |
|
Miserere (Lully)
linked to:
Miserere
|
Lully’s French Baroque idiom ⓘ |
| Éclat | serialism ⓘ |
| Éclat | post-serialism ⓘ |
| Gaspard de la nuit | French impressionism via predicate surface "associatedComposerStyle" ⓘ |
| Symphony No. 8 in D minor | Ralph Vaughan Williams’ late style ⓘ |
| Keyboard Sonata in E minor (F.3) "Polonaise" | Wilhelm Friedemann Bach’s mature style ⓘ |
| Cello Concerto in A minor, H. 432 |
Carl Philipp Emanuel Bach’s empfindsamer Stil
via predicate surface "associatedComposerStyle"
ⓘ
linked to:
Carl Philipp Emanuel Bach
|
| Road to Perdition (film score) | Thomas Newman’s signature harmonic language ⓘ |
| C major (BWV 1005) | German Baroque polyphony via predicate surface "associatedComposerStyle" ⓘ |
| The Housatonic at Stockbridge | modernist ⓘ |
| On Dangerous Ground (1951 film) score | characteristic Bernard Herrmann orchestration ⓘ |
| Men in Black (film score) | Danny Elfman’s signature gothic-comic style ⓘ |
| Prelude in B-flat major, BWV 866 | contrapuntal ⓘ |
| Prelude in F minor, BWV 857 | Bach keyboard style via predicate surface "associatedComposerStyle" ⓘ |
| Fugue in A minor, BWV 865 | contrapuntal ⓘ |
| Essay for Orchestra No. 3, Op. 47 | neo-Romantic ⓘ |
| Eternal Sunshine of the Spotless Mind (film score) | melancholic ⓘ |
| The Fugitive (film score) | orchestral ⓘ |
| The Bourne Identity (film score) | propulsive ostinatos ⓘ |
| The Bourne Identity (film score) | syncopated rhythms ⓘ |
| The Bourne Identity (film score) | use of motifs instead of long themes ⓘ |
| Mr. & Mrs. Smith (film score) | percussive action writing ⓘ |
| Mr. & Mrs. Smith (film score) | use of driving rhythms ⓘ |
| Mr. & Mrs. Smith (film score) | integration of electronic elements ⓘ |
| The Sea and Sinbad’s Ship | Russian Romantic ⓘ |
| Love Theme from Superman | late-romantic orchestral via predicate surface "associatedComposerStyle" ⓘ |
| Naive and Sentimental Music | minimalist ⓘ |
| Naive and Sentimental Music | postminimalist ⓘ |
| Enemy at the Gates (film score) | James Horner’s late‑1990s/early‑2000s dramatic style ⓘ |
| Symphony on G | use of non-traditional percussion instruments via predicate surface "hasComposerStyleTrait" ⓘ |
| Symphony on G | integration of world music influences via predicate surface "hasComposerStyleTrait" ⓘ |
| Fratres | tintinnabuli technique ⓘ |
| Le Turc généreux | Jean-Philippe Rameau’s mature French Baroque style ⓘ |
| Chœur des Scythes | reform opera style of Gluck via predicate surface "associatedComposerStyle" ⓘ |