Log in

Relevant bibliographies by topics / Arvo Pärt

Contents

Journal articles
Dissertations / Theses
Books
Book chapters

Academic literature on the topic 'Arvo Pärt'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Arvo Pärt.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Arvo Pärt"

1

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

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

Belibou, Alexandra. "Arvo Pärt’s Music: Facets of the Tintinnabuli Technique." Studia Universitatis Babeş-Bolyai Musica 65, no. 2 (December 21, 2020): 109–17. http://dx.doi.org/10.24193/subbmusica.2020.2.08.

Full text

Abstract:

"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 or elastic). In both musical works analyzed, the tintinnabuli technique (technique used in composition since 1976) does not refer to serialization of sound parameters, but addresses the algorithmizing process of the musical material, which originates from formal and philosophical thinking. Keywords: tintinnabuli, minimalism, holy minimalism, Arvo Pärt."

APA, Harvard, Vancouver, ISO, and other styles

3

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.

Full text

Abstract:

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 no less a person than Tikhon Khrennikov, the all-powerful general secretary of the Soviet Composers’ Union. Indeed at the Third All– Union Congress of Soviet Composers held in Moscow in March 1962 Khrennikov singled out Pärt for criticism.

APA, Harvard, Vancouver, ISO, and other styles

4

Vuorinen, Mark. "Symbolic Chiasm in Arvo Pärt’s Passio (1982)." Circuit 21, no. 1 (March 11, 2011): 45–59. http://dx.doi.org/10.7202/1001162ar.

Full text

Abstract:

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 events leading to his crucifixion. Seen in this light, the Passion narrative unfolds according to a pre-ordained plan; it is this subtle perspective of the Gospel that Arvo Pärt reveals musically in his Passio. This paper approaches a musical analysis of Passio in relation to John’s perspective that Christ knew all that was to follow. It illustrates that virtually every note is linked in some way to Pärt’s musical pilgrimage to the cross. With a microscopic lens, the analysis connects Pärt’s use of melody, texture, inversion and tintinnabuli to a poignant marriage of music and the biblical text. And on a macroscopic level, it is shown that musical events unfold over time to reveal the inevitability of the crucifixion. It is revealed that within the work’s tonal centres, large-scale textural procedures, pedal points and the music of the Exordium and Conclusio the path to the cross is present from beginning to end. In this way, the listener is taken through the narrative only to realize afterward that the Gospel’s outcome was present from beginning to end.

APA, Harvard, Vancouver, ISO, and other styles

5

SOLOVIOVA, Tatiana. "The Choral Compositions of Arvo Pärt as an Example of." Journal of Eastern Christian Studies 59, no. 1 (September 19, 2007): 85–101. http://dx.doi.org/10.2143/jecs.59.1.2023428.

Full text

APA, Harvard, Vancouver, ISO, and other styles

6

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

7

Kakalis, Christos. "Silence, Stillness and the International Competition for the Arvo Pärt Centre." Architecture and Culture 4, no. 2 (May 3, 2016): 293–314. http://dx.doi.org/10.1080/20507828.2016.1178999.

Full text

APA, Harvard, Vancouver, ISO, and other styles

8

Opanasiuk, Oleksandr. "Intentionally-Cultural Aspects of the Tintinnabuli Style and Сreativity of Arvo Pärt." Bulletin of Kyiv National University of Culture and Arts. Series in Musical Art, no. 2 (December 26, 2018): 12–26. http://dx.doi.org/10.31866/2616-7581.2.2018.153371.

Full text

APA, Harvard, Vancouver, ISO, and other styles

9

Mellers, Wilfrid. "Arvo Pärt, God and Gospel:Passio domini nostri iesu Christi secundum iohannem(1982)." Contemporary Music Review 12, no. 2 (January 1995): 35–48. http://dx.doi.org/10.1080/07494469500640151.

Full text

APA, Harvard, Vancouver, ISO, and other styles

10

Joncas, Jan Michael. "Ex Oriente Vox: Spirituality and Culture in the Music of Arvo Pärt." Logos: A Journal of Catholic Thought and Culture 1, no. 4 (1998): 66–93. http://dx.doi.org/10.1353/log.1998.0001.

Full text

APA, Harvard, Vancouver, ISO, and other styles

More sources

Dissertations / Theses on the topic "Arvo Pärt"

1

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

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

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

Full text

Abstract:

Includes bibliographical references.
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 to a long line of similar practice in the fields of music, mathematics, physics and astronomy that has been used in the pursuit of an understanding of the Universe. Although informed by an extensive depth of spirituality, research and construction, the music remains an intensely personal expression of the composer. In this combination of structure and intuition it is able to resonate with people across many different cultures, and across many visible and invisible boundaries. Through the establishment of tonal stability in tintinnabuli music, extra-musical codes and symbols can be placed within its structure. This is achieved through a compositional process that includes both highly organized proportional formulas and creative intuition. The process of pitch mapping as a method of musical analysis demonstrates how this can be done. Pitch mapping is presented as a creative process of musical analysis. Visual images and animated visual images are used to add to an understanding of the music.

APA, Harvard, Vancouver, ISO, and other styles

3

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

4

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.

Full text

Abstract:

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 triadic elements (the M-voice and T-voice, respectively). For this reason, I identify Pärt's use of compound melody as a distinct technique, which I call "compound tintinnabulation." In this thesis, I define the compound tintinnabulation technique and explore its uses in a number of Pärt's tintinnabuli pieces. My definition of compound tintinnabulation and analyses of four tintinnabuli works constitute an original contribution to scholarship. The thesis is divided in two parts. Part 1 provides background on the tintinnabulation technique and methodological information. In the methodology section, I enumerate the various ways to identify and parse a compound tintinnabulation melody. To accomplish this, I briefly analyze some tintinnabuli and pre-tintinnabuli works, such as Sarah was Ninety Years Old, Variationen zur Gesundung von Arinuschka, Summa, and The Woman with the Alabaster Box. Part 2 comprises four detailed analytical essays, which employ the methodology that I developed in Part 1. The essays investigate two instrumental and two vocal works, whose dates of composition span approximately thirty years. These compositions are: Tabula Rasa (1977), Annum per Annum (1980), Es sang vor langen Jahren (1984), and L'Abbé Agathon (2004). I cover a wide-ranging sample of Pärt's compositional output in order to reveal the importance of compound tintinnabulation for his tintinnabulation aesthetic as a whole. Throughout this thesis, I investigate interactions of Pärt's spirituality and religious narratives with the compound tintinnabulation technique. In my score analyses, accompanied by illustrative figures and examples, I show how examining the surface manifestations of the tintinnabulation technique in each piece is essential to understanding the richness of meaning in Pärt's music.
La musique d'Arvo Pärt est souvent caractérisée par son style simple, même minimaliste. Sa technique de « tintinnabulement », développée dans les années 1970, se compose de seulement deux éléments très simples : une mélodie (généralement une gamme) et une triade. Il y a de multiples façons dont Pärt emploie le tintinnabulement pour construire chaque composition, cependant, elles sont toutes sauf simplistes. Par exemple, pour former certaines œuvres qui tintinnabulent, Pärt utilise des « mélodies composées ». Des « mélodies composées » se composent de deux voix indépendantes, s'alliant en une seule ligne mélodique. Dans le tintinnabulement, ses deux voix se composent d'éléments mélodiques et triadiques (le M-voix et T-voix, respectivement). Pour cette raison, je définis le genre de « mélodie composée » utilisé par Arvo Pärt comme une technique distincte, que je nomme le « tintinnabulement composé ». Dans cette thèse, j'utilise pleinement le « tintinnabulement composé » et j'explore les usages de cette technique dans un assortiment de compositions en style de tintinnabulement. Ma définition du « tintinnabulement composé » et aussi mes rédactions analytiques constituent ma propre contribution originale à la littérature intellectuelle. La thèse est divisée en deux parties. La première partie explique le contexte du style du tintinnabulement et explique ma méthodologie. Dans la section méthodologique, j'énumère les façons d'identifier et d'analyser le tintinnabulement composé. J'atteins cet objectif en analysant brièvement quelques compositions de la période de tintinnabulement et des années précédentes, par exemple Sarah was Ninety Years Old, Variationen zur Gesundung von Arinuschka, Summa, et The Woman with the Alabaster Box. La deuxième partie contient quatre analyses de quatre compositions, faite à partir de la méthodologie originale développée dans la première partie. Deux sont des compositions instrumentales et deux sont des compositions pour voix, créées durant presque trente ans. Les compositions sont : Tabula Rasa (1977), Annum per Annum (1980), Es sang vor langen Jahren (1984), et L'Abbé Agathon (2004). Je donne plusieurs exemples musicaux pour montrer l'importance du tintinnabulement composé dans la musique d'Arvo Pärt. A travers cette thèse, j'analyse les interactions entre les récits spirituels ou religieux et le tintinnabulement composé. À partir de figures et d'exemples, je montre comment le tintinnabulement composé peut être important dans chaque œuvre pour comprendre la définition de la musique de Pärt.

APA, Harvard, Vancouver, ISO, and other styles

5

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/.

Full text

Abstract:

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 the past. This study explores the evolution of Arvo Pärt's tintinnabuli technique in its first decade 1976-1985, which is divided into three different types. It provides musical examples from the scores of selected works, Für Alina, Cantus in Memory of Benjamin Britten, Cantate Domino canticum novum, Missa Sillabica, Stabat Mater and Es sang vor langen Jahren, and their analyses with supporting interpretative sketches. The goal of this thesis is to provide the reader a basis for understanding and recognizing the different types of Pärt's tintinnabuli technique.

APA, Harvard, Vancouver, ISO, and other styles

6

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/.

Full text

Abstract:

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 section includes a performance analysis of the work, while the third gives trumpet players pedagogical suggestions and practical exercises for proper preparation of Concerto Piccolo. This guide presents performers with relevant background, analytical, and pedagogical information required for an informed and high-level performance.

APA, Harvard, Vancouver, ISO, and other styles

7

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.

Full text

Abstract:

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.
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 Classical music world. Although a self-professed Orthodox Christian (to which he converted in 1972), he has composed choral works for Catholic, Orthodox, and Anglican services. In the year 2000, Pärt composed the work Orient and Occident for string orchestra. The work is a wordless tintinnabuli setting of the Nicene-Constantinopolitan Creed. Its idiosyncratic use of dissonance, string techniques, and modal vocabulary is atypical of his tintinnabuli works. Several reviews suggest that Orient and Occident shares similarities with Near-Eastern music, or the characteristics of Islamic cantillation. Throughout Pärt’s compositional career, he has declined to comment in depth on his own spirituality, and he has left it to his audience to draw their own conclusions. He has suggested letting the music "speak for itself," as a symbol to convey his own inner spiritual thoughts. I suggest that Orient and Occident is an exposition of his own inner Orthodoxy, and a musical mediation of his Orthodox faith in relation to other faiths, Christian or otherwise. This thesis considers the ways in which we view Pärt as mediator for sacred music in a secular, postmodern environment, through Orient and Occident and historical perspectives of the icon in Byzantine Orthodox traditions. It examines the broader connotations of Pärt, the icon, and spirituality; providing insights into his 2010 performance in Istanbul. It examines the ‘aural architecturality’ of tintinnabulation, through hermeneutic and phenomenological theories surrounding iconography and light mysticism. It tackles the notions of ‘catholicity’ and ecumenicity with which the world has come to know Pärt; from the lens of his Orthodox faith, and extending outwards across geographical, cultural, political, and spiritual borders.
2031-01-01

APA, Harvard, Vancouver, ISO, and other styles

8

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

Full text

Abstract:

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 to earlier minimalist styles, and in part because it adapts easily to the choral setting. At the same time, teaching this music to choirs requires resources that are not in standard-practice choral pedagogy textbooks or peer-reviewed choral journals. This monograph utilizes newer research in musical analysis and several recent writings attempting to generalize the postminimalist style to develop a definition of choral postminimalism. Then, this monograph also suggests analytical approaches and resources for choral warm-ups, score preparation, and other pedagogical tools for three pieces: Arvo Pärt’s The Beatitudes, Nico Muhly’s Bright Mass with Canons, and Tarik O’Regan’s The Ecstasies Above.

APA, Harvard, Vancouver, ISO, and other styles

9

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

Full text

Abstract:

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 modernitat de Vattimo. Unes lectures que busquen oferir altres sentits, a partir de diferents enfocaments històrics i filosòfics, a l’època de la ‘postmodernitat’. A partir d’aquí, el discurs es centra en la manifestació de la crisi en l’art, seguint també algunes reflexions desenvolupades per Adorno en la Teoria estètica. Després de considerar les revolucions artístiques de la primera meitat del segle XX —en particular l’abstractisme de Kandinsky i de Malèvitx i la música ‘atonal’ de Schönberg—, així com alguns dels moviments d’avantguarda que van protagonitzar una explosió estètica en les dècades dels 50 i els 60, s’arriba així a una anàlisi de l’obra de l’escultor Richard Serra i del compositor Arvo Pärt, l’elecció dels quals, no obstant això, no implica certament la possibilitat de definir una direcció unívoca en l’expressió artística del nostre temps.
Partiendo de la cuestión de la crisis de la modernidad, se propone una reflexión sobre algunos de los caminos del arte contemporáneo, utilizando como clave de lectura de la experiencia artística la expresión del tiempo y de la temporalidad. La pregunta a la cual se intenta ofrecer una respuesta es sobre las dimensiones en que se expresa y a las cuales da forma el arte de nuestro tiempo. Para ello, en la primera parte se analizan cuatro lecturas de la cuestión de la modernidad: La barbarie de Henry, La crisis de las ciencias europeas de Husserl, la Dialéctica de la ilustración de Horkheimer y Adorno, y El fin de la modernidad de Vattimo. Unas lecturas que buscan ofrecer otros sentidos, a partir de diferentes enfoques históricos y filosóficos, a la época de la ‘posmodernidad’. A partir de ahí, el discurso se centra en la manifestación de la crisis en el arte, siguiendo también algunas reflexiones desarrolladas por Adorno en la Teoría estética. Después de considerar las revoluciones artísticas de la primera mitad del siglo XX —en particular el abstractismo de Kandinsky y de Malévich y la música ‘atonal’ de Schönberg—, así como algunos de los movimientos de vanguardia que protagonizaron una explosión estética en las décadas de los 50 y los 60, se llega así a un análisis de la obra del escultor Richard Serra y del compositor Arvo Pärt, cuya elección, sin embargo, no implica ciertamente la posibilidad de definir una dirección unívoca en la expresión artística de nuestro tiempo.
Starting from the crisis of modernity, I propose a reflection on some of the paths of contemporary art, considering the expression of time and temporality an interpretative key for the artistic experience. The question I attempt to answer is on the dimensions in which the art of our time expresses itself, and which it tries to shape. To do this, in the first part four readings of modernity are analyzed: Barbarism by Henry, The Crisis of European Sciences by Husserl, the Dialectic of Enlightenment by Horkheimer and Adorno, and The End of Modernity by Vattimo. Readings that attempt to offer, from different historical and philosophical approaches, other meanings of the age of ‘postmodernity’. Thereafter, the discourse focuses on the manifestation of the crisis in art, following some thoughts developed by Adorno in Aesthetic Theory. After considering the artistic revolutions of the early twentieth century —in particular, the abstractionism of Kandinsky and Malevich and the ‘atonal’ music of Schoenberg—, as well as some of the avant-garde movements who staged an aesthetic explosion in the 50 and 60, I finally analyze the work of the sculptor Richard Serra and the composer Arvo Pärt, whose choice, however, certainly does not imply the possibility of defining a unique path in the artistic expression of our time.
Partendo dalla questione della crisi della modernità, si propone una riflessione su alcuni dei percorsi dell’arte contemporanea, utilizzando come chiave di lettura dell’esperienza artistica l’espressione del tempo e della temporalità. La domanda alla quale si cerca di offrire una risposta è sulle dimensioni nelle quali si esprime e alle quali dà forma l’arte del nostro tempo. In questa direzione, nella prima parte si analizzano quattro letture della questione della modernità: La barbarie di Henry, La crisi delle scienze europee di Husserl, la Dialettica dell’illuminismo di Horkheimer y Adorno, e La fine della modernità di Vattimo. Delle letture che intentano offrire altri significati, a partire da diversi approcci storici e filosofici, all’epoca della ‘postmodernità’. Di qui, il discorso si incentra sulla manifestazione della crisi nell’arte, seguendo alcune riflessioni sviluppate de Adorno nella Teoría estetica. Dopo aver considerato le rivoluzioni artistiche della prima metà del ventesimo secolo —in particulare l’astrattismo di Kandinsky e di Malevič e la musica ‘atonale’ di Schönberg—, così come alcuni dei movimenti di avanguardia che hanno protagonizato una esplosione estetica negli anni 50 e 60, si arriva così ad un’analisi dell’opera dello scultore Richard Serra e del compositore Arvo Pärt, la cui scelta, tuttavia, non implica certamente la possibilità di definire una direzione univoca nell’espressione artistica del nostro tempo.

APA, Harvard, Vancouver, ISO, and other styles

10

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

Full text

Abstract:

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 contribution in the history of music. Powered by TCPDF (www.tcpdf.org)

APA, Harvard, Vancouver, ISO, and other styles

Books on the topic "Arvo Pärt"

1

The Cambridge companion to Arvo Pärt. Boston: Cambridge University Press, 2012.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

2

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

Full text

APA, Harvard, Vancouver, ISO, and other styles

3

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

Find full text

APA, Harvard, Vancouver, ISO, and other styles

4

Albin, Andrew, Peter C. Bouteneff, Maria Cizmic, Jeffers Engelhardt, Adriana Helbig, Paul Hillier, Kevin Karnes, et al. Arvo Pärt. Edited by Peter C. Bouteneff, Jeffers Engelhardt, and Robert Saler. Fordham University Press, 2020. http://dx.doi.org/10.1515/9780823289783.

Full text

APA, Harvard, Vancouver, ISO, and other styles

5

Bouteneff, Peter C., Jeffers Engelhardt, and Robert Saler, eds. Arvo Pärt. Fordham University Press, 2020. http://dx.doi.org/10.5422/fordham/9780823289752.001.0001.

Full text

Abstract:

Scholarly writing on the music of Arvo Pärt is situated primarily in the fields of musicology, cultural and media studies, and, more recently, in terms of theology/spirituality. Arvo Pärt: Sounding the Sacred focuses on the representational dimensions of Pärt’s music (including the trope of silence), writing and listening past the fact that its storied effects and affects are carried first and foremost as vibrations through air, impressing themselves on the human body. In response, this ambitiously interdisciplinary volume asks: What of sound and materiality as embodiments of the sacred, as historically specific artifacts, and as elements of creation deeply linked to the human sensorium in Pärt studies? In taking up these questions, the book “de-Platonizes” Pärt studies by demystifying the notion of a single “Pärt sound.” It offers innovative, critical analyses of the historical contexts of Pärt’s experimentation, medievalism, and diverse creative work; it re-sounds the acoustic, theological, and representational grounds of silence in Pärt’s music; it listens with critical openness to the intersections of theology, sacred texts, and spirituality in Pärt’s music; and it positions sensing, performing bodies at the center of musical experience. Building on the conventional score-, biography-, and media-based approaches, this volume reframes Pärt studies around the materiality of sound, its sacredness, and its embodied resonances within secular spaces.

APA, Harvard, Vancouver, ISO, and other styles

6

Arvo Pärt in conversation. Dalkey Archive Press, 2012.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

7

Arvo Pärt: Out of Silence. St Vladimirs Seminary Pr, 2015.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

8

Shenton, Andrew, ed. The Cambridge Companion to Arvo Pärt. Cambridge University Press, 2012. http://dx.doi.org/10.1017/ccol9781107009899.

Full text

APA, Harvard, Vancouver, ISO, and other styles

9

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

Find full text

APA, Harvard, Vancouver, ISO, and other styles

10

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

Find full text

APA, Harvard, Vancouver, ISO, and other styles

Book chapters on the topic "Arvo Pärt"

1

Fontaine, Susanne. "Pärt, Arvo." In Komponisten Lexikon, 447–48. Stuttgart: J.B. Metzler, 2003. http://dx.doi.org/10.1007/978-3-476-05274-2_221.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

Frumkis, Tatjana. "Arvo Pärt." In Kammermusikführer, 469–72. Stuttgart: J.B. Metzler, 1998. http://dx.doi.org/10.1007/978-3-476-03514-1_93.

Full text

APA, Harvard, Vancouver, ISO, and other styles

3

Fontaine, Susanne. "Pärt, Arvo." In Metzler Komponisten Lexikon, 566–67. Stuttgart: J.B. Metzler, 1992. http://dx.doi.org/10.1007/978-3-476-03421-2_219.

Full text

APA, Harvard, Vancouver, ISO, and other styles

4

Kautny, Oliver. "Einleitung." In Arvo Pärt zwischen Ost und West, 12–15. Stuttgart: J.B. Metzler, 2002. http://dx.doi.org/10.1007/978-3-476-02900-3_1.

Full text

APA, Harvard, Vancouver, ISO, and other styles

5

Kautny, Oliver. "Rezeption im sowjetischen Kontext." In Arvo Pärt zwischen Ost und West, 16–139. Stuttgart: J.B. Metzler, 2002. http://dx.doi.org/10.1007/978-3-476-02900-3_2.

Full text

APA, Harvard, Vancouver, ISO, and other styles

6

Kautny, Oliver. "Rezeption zwischen Diskurs und Markt." In Arvo Pärt zwischen Ost und West, 140–262. Stuttgart: J.B. Metzler, 2002. http://dx.doi.org/10.1007/978-3-476-02900-3_3.

Full text

APA, Harvard, Vancouver, ISO, and other styles

7

Kautny, Oliver. "Schlussbetrachtung." In Arvo Pärt zwischen Ost und West, 263–70. Stuttgart: J.B. Metzler, 2002. http://dx.doi.org/10.1007/978-3-476-02900-3_4.

Full text

APA, Harvard, Vancouver, ISO, and other styles

8

Beyer, Udo. "Spiegel im Spiegel – zur Geometrie hinter der Musik von Arvo Pärt." In Die Basis der Vielfalt, 99–112. Wiesbaden: Springer Fachmedien Wiesbaden, 2016. http://dx.doi.org/10.1007/978-3-658-14126-4_7.

Full text

APA, Harvard, Vancouver, ISO, and other styles

9

Albin, Andrew. "Medieval Pärt." In Arvo Pärt, 154–76. Fordham University Press, 2020. http://dx.doi.org/10.2307/j.ctv1199106.11.

Full text

APA, Harvard, Vancouver, ISO, and other styles

10

Albin, Andrew. "Medieval Pärt." In Arvo Pärt, 154–76. Fordham University Press, 2020. http://dx.doi.org/10.5422/fordham/9780823289752.003.0009.

Full text

Abstract:

Supported by modernity’s desires, fantasies, and aversions toward the premodern past and a cultivated branding strategy, popular reception of Arvo Pärt commonly figures both man and music as embodiments of a kind of medieval mysticism. Taking this image as a cue for analysis, this chapter considers how the medieval, taken as a historical force that traverses chronological temporality, stands to expand our understanding of contemporary experiential encounters with Pärt’s music. The grounds of this analysis lie in the textuality and manuscript contexts of the writings of Richard Rolle of Hampole, Pärt’s musical and mystical counterpart of the English Middle Ages. Rolle’s mysticism encourages certain spiritualized styles of hearing sound and silence that, when applied to Pärt’s music in manuscript, edition, and performance, allow us recognize important qualities—medieval qualities—that otherwise go unnoticed in his music. Drawing on sound studies methodologies, the chapter thus asks not how Pärt is medieval, but what the medieval helps us hear in Pärt.

APA, Harvard, Vancouver, ISO, and other styles

We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!