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Relevant bibliographies by topics / Arvo Pärt

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Academic literature on the topic 'Arvo Pärt'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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Journal articles on the topic "Arvo Pärt"

1

Zeverino, Silvia. "Arvo Pärt e l’evoluzione dello stile Tintinnabuli nelle opere per violino. Tabula rasa (1977) e Fratres (1980)." Ex Chordis, no. 1 (November 15, 2023): 91–107. http://dx.doi.org/10.54103/3034-8781/22519.

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Il presente saggio è una versione abbreviata e aggiornata del mio lavoro di Tesi Triennale sui principali brani per violino di Arvo Pärt. In seguito al mio diploma accademico di I livello ho avuto un’ulteriore opportunità per conoscere il compositore estone grazie alla mia visita all’Arvo Pärt Centre di Laulasmaa (Estonia) in occasione degli Arvo Pärt Days 2022; motivo per cui ho deciso di approfondire due dei brani già analizzati nel mio precedente lavoro, Tabula Rasa (1977) e Fratres (1980). Il risultato di questo studio è allo stesso tempo specifico e generale; il suo scopo principale è aum

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2

McCarthy, Jamie. "An interview with Arvo Pärt." Contemporary Music Review 12, no. 2 (1995): 55–64. http://dx.doi.org/10.1080/07494469500640171.

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Belibou, Alexandra. "Arvo Pärt’s Music: Facets of the Tintinnabuli Technique." Studia Universitatis Babeş-Bolyai Musica 65, no. 2 (2020): 109–17. http://dx.doi.org/10.24193/subbmusica.2020.2.08.

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"This article comprises an analysis of two of the religious works signed by the Estonian composer, Arvo Pärt, both written in the tintinnabuli technique, 9 years apart - De profundis and Miserere. After an overview of the tintinnabuli concept and after indicating their technical features, I have observed how the minimalist compositional method, specific to Pärt, has acquired elasticity, as years went by. Nonetheless, the hermeneutical principles which the composer intended to soundly integrate in his composition style are preserved, regardless of how the tintinnabuli technique arises (strict o

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Clarkson, Joy Marie. "Arvo Pärt, Death, and Affective Practice." Spiritus: A Journal of Christian Spirituality 24, no. 2 (2024): 249–64. http://dx.doi.org/10.1353/scs.2024.a938554.

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Abstract: Recent scholarship suggests that the modern West offers few spiritual resources to prepare people for death. This essay contends that Arvo Pärt's music can act as a contemporary affective practice that consoles listeners facing death and compares this use of music with the medieval spiritual practices associated with ars moriendi . This essay attends to the first-person accounts of hospice patients listening to Pärt's music as a compelling case study of contemporary affective practice and develops a new framework for understanding the affective capacities of music by engaging emergin

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Копосова, И. В., and В. Д. Дёмин. "COMPOSING TECHNIQUE IN STRING PIECES OF ARVO PÄRT." Music Journal of Northern Europe, no. 2(14) (July 2, 2018): 1–21. http://dx.doi.org/10.61908/2413-0486.2018.14.2.1-21.

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В статье рассматриваются особенности композиторской техники в сочинениях, созданных Арво Пяртом для струнных инструментов. Хотя этот автор неоднократно высказывался о нейтральном отношении к категории тембра в музыке, совокупный взгляд на его творчество позволяет выявить тяготение Пярта к определённым инструментальным краскам. Звучание струнных находится в их числе. В статье анализируются несколько опусов: «Cantus in Memory of Benjamin Britten», «Trisagion», «These words». Первое демонстрирует опору на союз композиционных приёмов прошлого и настоящего, свойственный многим инструментальным опус

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Gomeniuk, Svitlana, та Nazarii Tarasenko. "Features of the early tintinnabuli style in the works by Arvo Pärt: interaction а word and a number". Scientific herald of Tchaikovsky National Music Academy of Ukraine, № 137 (30 жовтня 2023): 95–109. http://dx.doi.org/10.31318/2522-4190.2023.137.294668.

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Relevance and scientific novelty of the selected topic of the research. The work of Arvo Pärt is regularly covered in Ukrainian musicology, however, the issue of the interaction of his compositional technique with the verbal text used to be a part of a broader scientific problem—such as the author's style, modern choral writing, etc. At the same time, a comparison of the methods of applying the tintinnabuli technique in works with and without text was not undertaken yet. Indeed, the comparative method allows a better understanding of how word and number—two main compositional factors in the wo

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Quinn, Peter. "Out with the Old and in with the New: Arvo Pärt's ‘Credo’." Tempo, no. 211 (January 2000): 16–20. http://dx.doi.org/10.1017/s004029820000735x.

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The current standing of the Estonian-born composer Arvo Pärt (b.1935) rests almost exclusively on the works he has composed since 1976, the year the composer unveiled the first fruits of his newly-discovered modal formulae, or what has now become known as the ‘tintinnabuli’ style. There is, however, a large, important and up until now relatively unexplored series of experimental works that predate this seemingly radical change of style. For example, Pärt's first orchestral piece, Nekrolog (1960), was the very first piece of Estonian music to employ the 12-note technique, incurring the wrath of

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Cohal, Dragoș-Mihai. "Da Pacem Domine by Arvo Pärt. The Stylistic and Interpretative Analysis – Conductor’s Guide." Studia Universitatis Babeş-Bolyai Musica 69, Sp.Issue 1 (2024): 261–75. http://dx.doi.org/10.24193/subbmusica.2024.spiss1.16.

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The piece “Da pacem Domine” (Give us peace, O Lord), by Arvo Pärt was inspired by a Gregorian antiphon from the 9th century. Written in the original tintinnabuli style, the piece uses numerous compositional techniques belonging to the early Renaissance period called Cantus firmus, parallel organum, faux bourdon, Landini cadence or anticipations, but also and even a modern way of vocal scoring: the “pointillistic polyphony”. The work is divided into four sections, corresponding to the four verses of the prayer and the gravitational centre of the music is D. To impart expressive meaning to the m

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Vuorinen, Mark. "Symbolic Chiasm in Arvo Pärt’s Passio (1982)." Circuit 21, no. 1 (2011): 45–59. http://dx.doi.org/10.7202/1001162ar.

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Passio, is Arvo Pärt’s first large scale vocal-instrumental work in the tintinnabuli style and remains today one of his most significant compositions. In this setting of the Passion text according to St. John, Pärt codifies procedures of tintinnabuli that will remain his principle means of musical communication for years to come while implying a very important perspective of Johannine theology. His compositional design utilizes both small-scale and large-scale chiastic constructions and gives prominence to John’s observance in Chapter 18, verse 4, that Christ knows all that will occur in the e

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Liva, Natalia. "Dialogue of epochs in music thinking of Arvo Pärt: “Credo”." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 124 (April 25, 2019): 31–42. http://dx.doi.org/10.31318/2522-4190.2019.124.165406.

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Dissertations / Theses on the topic "Arvo Pärt"

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Goldberg, Clemens. "Text und Liturgie bei Arvo Pärt." Bärenreiter Verlag, 1998. https://slub.qucosa.de/id/qucosa%3A37045.

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Patrick, David. "Analysis of Summa by Arvo Pärt." Master's thesis, University of Cape Town, 2011. http://hdl.handle.net/11427/11014.

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Includes bibliographical references.<br>This study presents a musical analysis using a process of pitch mapping. Pitch rows are presented graphically to demonstrate the visual design of the music. Description of the process is preceded by a discussion of some of the historical, and philosophical factors that are relevant to the development of Pärt’s tintinnabuli music. The musical and political history of Estonia and some of its other composers are presented as an important resource for understanding Pärt’s music. The use of proportions and formulas in the music is presented as being connected

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Quinn, Peter. "Arvo Pärt : the making of a style." Thesis, Goldsmiths College (University of London), 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.407803.

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Maler, Anabel. "Compound tintinnabulation in the music of Arvo Pärt." Thesis, McGill University, 2012. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=110511.

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Arvo Pärt's music is often characterized as simple, even minimalistic in style. Indeed, his tintinnabulation technique, developed in the early 1970s, consists of only two basic elements: a melody (usually a scale) and a triad. The myriad ways in which Pärt employs tintinnabulation to build each composition, however, are anything but simplistic. For example, one important piece-building strategy Pärt employs is "compound melody." A "compound melody" consists of two independent voices combined into a single melodic line. In Pärt's tintinnabuli music, those two voices consist of the melodic and t

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Kongwattananon, Oranit. "Arvo Pärt and Three Types of His Tintinnabuli Technique." Thesis, University of North Texas, 2013. https://digital.library.unt.edu/ark:/67531/metadc271844/.

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Arvo Pärt, an Estonian composer, was born in 1935. Most of the works at the beginning of his career were for piano in the neo-classical style. After that, he turned his interest to serial music and continued creating works with serial techniques throughout the 1960s. After his "self-imposed silence" period (during the years 1968-1976), Pärt emerged with a new musical style, which he called tintinnabuli. Although, this technique was influenced by music from the medieval period, the texture and function of its musical style cannot be described easily in terms of any single musical technique of t

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Bishop, James Martin. "A Performance Guide to Arvo Pärt's Concerto Piccolo Über B-A-C-H for Trumpet, Strings, Harpsichord, and Piano." Thesis, University of North Texas, 2013. https://digital.library.unt.edu/ark:/67531/metadc283781/.

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Arvo Pärt's Concerto Piccolo über B-A-C-H for trumpet, strings, harpsichord, and piano is a brief yet challenging work in the trumpet repertoire. A carefully articulated performance guide is necessary to aid trumpeters in overcoming the numerous musical challenges presented in this piece. Currently, there is no resource that helps in solving performance choices and difficulties in this work. This first section of this document provides historical and contextual information on Arvo Pärt, his compositional output during his experimental period, and subsequently, Concerto Piccolo. The second

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Forrestal, John Daniel. ""A poet from the north:" Arvo Pärt, Orient and Occident, and the aural architecture of his orthodox faith." Thesis, Boston University, 2014. https://hdl.handle.net/2144/21151.

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Thesis (M.M.) PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you.<br>Arvo Pärt is a contemporary sacred composer who is recognized for developing what he has referred to as the ‘tintinnabuli’ compositional technique. His tintinnabuli technique has led him to great success both in and outside of the

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Chai, Joshua John. "POSTMINIMALIST CHORAL MUSIC: A PEDAGOGICAL PERSPECTIVE." UKnowledge, 2019. https://uknowledge.uky.edu/music_etds/135.

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After the strict processes of mid-twentieth-century minimalism, a new musical style has emerged which retains extensive use of repetition, but is generally more aurally accessible, based in non-functional triadic harmony, and flexible in its compositional structure. Frequent use of non-minimalist resources, musical resources from multiple styles in a single composition, and quotation from previous historical periods define this flexibility. American choral music has many popular compositions that exhibit characteristics of this new musical style, in part because of its accessibility relative t

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Malquori, Diego. "Expresar lo inexpresable. Tiempo y temporalidad en el arte contemporáneo." Doctoral thesis, Universitat Ramon Llull, 2015. http://hdl.handle.net/10803/336687.

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Partint de la qüestió de la crisi de la modernitat, es proposa una reflexió sobre alguns dels camins de l’art contemporani, utilitzant com a clau de lectura de l’experiència artística l’expressió del temps i de la temporalitat. La pregunta a la qual s’intenta donar una resposta és sobre les dimensions en què s’expressa i a les quals dóna forma l’art del nostre temps. Per a això, en la primera part s’analitzen quatre lectures de la qüestió de la modernitat: La barbàrie d’Henry, La crisi de les ciències europees de Husserl, la Dialèctica de la il·lustració de Horkheimer i Adorno, i La fi de la m

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Christou, Marios. "Arvo Pärt - The Choral Tintinnabuli Compositions." Master's thesis, 2006. http://www.nusl.cz/ntk/nusl-266524.

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This diploma work deals with Arvo Part's latest period, the so called "Tintinnabuli" style. The purpose of this diploma is to analyze six Tintinnabuli choral compositions and to discover the well "hidden" quality. To find the origin of the various components that comprised it (melody, harmony, voice leading, form) and to explain as clear as possible the way in which the composer combines them together in a fascinating way, but at the same time having his personal "voice". Consequently, this diploma work has, as its aim, to prove the importance of this new style and how it can be a great contri

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Books on the topic "Arvo Pärt"

1

Sanson, David. Arvo Pärt. Actes Sud, 2012.

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Teyssandier, Julien. Arvo Pärt. Pierre-Guillaume de Roux, 2017.

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Arquitectos, Nieto Sobejano. Tabula: Arvo Pärt Centre. Aedes, 2017.

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città, Studio La, ed. Ad lucem: Arte contemporanea per Arvo Pärt = contemporary art for Arvo Pärt. Nomos, 2011.

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author, Hastetter Michaela Christine, ed. Die Johannespassion von Arvo Pärt. KBW, Bibelwerk, 2015.

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Kautny, Oliver. Arvo Pärt zwischen Ost und West. J.B. Metzler, 2002. http://dx.doi.org/10.1007/978-3-476-02900-3.

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Kälvemark, Torsten. Aldrig förstummas: Arvo Pärt och musikens källor. Norma, 2015.

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Enzo, Restagno, ed. Arvo Pärt allo specchio: Conversazioni, saggi e testimonianze. Il saggiatore, 2004.

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Enzo, Restagno, ed. Arvo Pärt allo specchio: Conversazioni, saggi e testimonianze. Il saggiatore, 2004.

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10

Gröhn, Constantin. Dieter Schnebel und Arvo Pärt: Komponisten als "Theologen". Lit, 2006.

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Book chapters on the topic "Arvo Pärt"

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Fontaine, Susanne. "Pärt, Arvo." In Metzler Komponisten Lexikon. J.B. Metzler, 1992. http://dx.doi.org/10.1007/978-3-476-03421-2_219.

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Frumkis, Tatjana. "Arvo Pärt." In Kammermusikführer. J.B. Metzler, 1998. http://dx.doi.org/10.1007/978-3-476-03514-1_93.

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Fontaine, Susanne. "Pärt, Arvo." In Komponisten Lexikon. J.B. Metzler, 2003. http://dx.doi.org/10.1007/978-3-476-05274-2_221.

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Kautny, Oliver. "Einleitung." In Arvo Pärt zwischen Ost und West. J.B. Metzler, 2002. http://dx.doi.org/10.1007/978-3-476-02900-3_1.

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Kautny, Oliver. "Rezeption im sowjetischen Kontext." In Arvo Pärt zwischen Ost und West. J.B. Metzler, 2002. http://dx.doi.org/10.1007/978-3-476-02900-3_2.

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Kautny, Oliver. "Rezeption zwischen Diskurs und Markt." In Arvo Pärt zwischen Ost und West. J.B. Metzler, 2002. http://dx.doi.org/10.1007/978-3-476-02900-3_3.

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Kautny, Oliver. "Schlussbetrachtung." In Arvo Pärt zwischen Ost und West. J.B. Metzler, 2002. http://dx.doi.org/10.1007/978-3-476-02900-3_4.

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Beyer, Udo. "Spiegel im Spiegel – zur Geometrie hinter der Musik von Arvo Pärt." In Die Basis der Vielfalt. Springer Fachmedien Wiesbaden, 2016. http://dx.doi.org/10.1007/978-3-658-14126-4_7.

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"Arvo Pärt:." In Crisis Music. Liverpool University Press, 2021. http://dx.doi.org/10.2307/j.ctv3029r2s.12.

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TÉLLEZ, CARMEN-HELENA. "Arvo Pärt:." In Global 1968. University of Notre Dame Press, 2021. http://dx.doi.org/10.2307/j.ctv19m6575.20.

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