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Journal articles on the topic 'Arvo Pärt'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

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

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12

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 1, № 2 (2018): 12–26. https://doi.org/10.31866/2616-7581.2.2018.153371.

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The article is devoted to the tintinabuli style and creativity of the Estonian composer Arvo Pärt. The relevance of the research is due to the need to determine the distinctiveness of these phenomena, their underlying culture which gives possibility to characterize them in the context of the procedural being of European culture and patterns of its development in intentional period of its formation (the end of ХІХ – the beginning of the ХХІ centuries. The purpose of article is to analyze the tintinnabuli style and Arvo Pärt creativity in the context of the au

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13

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

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14

Савенко, С. И. "Aesthetics and style of Arvo Pärt’s work: revolution or evolution?" Журнал Общества теории музыки, no. 4(24) (March 22, 2023): 41–51. http://dx.doi.org/10.26176/otmroo.2018.24.4.003.

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Статья посвящена ключевой особенности творческой эволюции известного современного композитора, которая заключается в резкой смене стилистической парадигмы, произошедшей в середине 1970-х годов: авангардный тип письма, характерный для Пярта в 1960-е годы, уступил место стилю tintinnabuli (термин композитора), ориентированному на благозвучие в условиях литургических жанров. The article is devoted to the key features of the creative evolution of the famous contemporary composer, which consists in the abrupt change of the stylistic paradigm that occurred in the mid 1970s: the avant-garde type of w

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15

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, № 2 (26 грудня 2018): 12–26. http://dx.doi.org/10.31866/2616-7581.2.2018.153371.

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16

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

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García, Emilio. "Formatividad pareysoniana y minimalismo musical." Contrastes. Revista Internacional de Filosofía 27, no. 3 (2022): 115–32. http://dx.doi.org/10.24310/contrastescontrastes.v27i3.13982.

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El presente artículo resume los fundamentos de la teoría estética formulada por Luigi Pareyson. La materia y la forma constituyen la obra y en ellas se da una unión entre lo espiritual y lo material mostrando la esencia de lo bello-verdadero en la trascendencia. La percepción de los sentidos y la interacción materia-espíritu nos llevará a las fuentes de la experiencia estética en tanto que experiencia del ser. Arvo Pärt lo manifestará así en Berliner Messe y Cantus in memoriam of Benjamin Britten. La forma abre la materia al espíritu y el espíritu abre el arte a la trascendencia.

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18

Arnold, Jonathan. "Sacred song, spirituality and social justice." Theology 128, no. 1 (2025): 5–17. https://doi.org/10.1177/0040571x241307353.

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This article explores the relationship between music, particularly sacred singing, spirituality and social justice, by means of investigating, through a combination of scholarship, case studies and first-hand experience, how music and singing are able to encourage community cohesion, promote human dignity, and be an embodied form of spirituality; how music and song can challenge societal assumptions and norms, as well as confront injustice and inhumanity; and also how music and song can express the pain of human suffering and political oppression and challenge them, focusing on the particular

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19

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.

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20

Pentcheva, Bissera. "Arvo Pärt: Sounding the Sacred ed. by Peter C. Bouteneff, Jeffers Engelhardt, and Robert Saler." Journal of Orthodox Christian Studies 5, no. 1 (2022): 144–46. http://dx.doi.org/10.1353/joc.2022.0008.

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21

Paert, Irina. "“Keep Your Mind in Hell and Despair Not”: Dealing with the Wounds and Complicities of 20th Century Orthodoxy in Estonia Through the Theology of St Sophrony (Sakharov) and Arvo Pärt." Mission Studies 38, no. 1 (2021): 98–118. http://dx.doi.org/10.1163/15733831-12341776.

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Abstract The story of Estonian Orthodoxy, as often told through the narrative of collective trauma, is not homogeneous and uncontested. The co-existence of two Orthodox communities in present-day Estonia, each insisting on exclusive canonical legitimacy and holding different views of the past, the incomplete work of transitional justice, and the untold story of political collaboration appear as irreconcilable differences that challenge the ideals of Christian unity. In order to address these unresolved problems of a traumatic past, the paper will turn to the ascetic theology of twentieth-centu

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Skipp, Benjamin. "OUT OF PLACE IN THE 20TH CENTURY: THOUGHTS ON ARVO PÄRT'S TINTINNABULI STYLE." Tempo 63, no. 249 (2009): 2–11. http://dx.doi.org/10.1017/s0040298209000229.

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Of all recent art music styles, few have relied upon technological developments for their composition, performance and recording to the same degree as minimalism. In both the output of the principal composers of the more recent minimalist canon (namely in the objet trouvé works of Reich and Adams, the film scores by Glass and Nyman as well as through the reliance on electronic amplification common to them all) and in the counter-cultural movements characterized by music whose content is absolutely dependent on electronic media, repetitive styles have been transformed. The sophistication of the

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23

TARASENKO, Nazarii. "PAUL HILLIER AS AN INTERPRETER OF THE WORKS OF ARVO PÄRT: RECONSTRUCTION OF THE CONDUCTOR’S STRATEGY." Humanities science current issues 2, no. 76 (2024): 80–86. http://dx.doi.org/10.24919/2308-4863/76-2-14.

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CIZMIC, MARIA. "Transcending the Icon: Spirituality and Postmodernism in Arvo Pärt’s Tabula Rasa and Spiegel im Spiegel." Twentieth-Century Music 5, no. 1 (2008): 45–78. http://dx.doi.org/10.1017/s1478572208000601.

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AbstractThis essay explores the perceptions of value that circulate around Arvo Pärt’s early tintinnabuli works Tabula Rasa (1977) and Spiegel im Spiegel (1978). Western reception hears Pärt’s music as either ‘spiritually deep’ or musically ‘flat’. By understanding how modernist subjectivity translates into standards of musical value, I attempt to dismantle the biases inherent in both camps and go on to consider Pärt’s early tintinnabuli works in terms of both spirituality and postmodernism. Couched in the religious revivalism of the 1970s, Tabula Rasa offers a narrative of transcendence that

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SCHMELZ, PETER J. "Andrey Volkonsky and the Beginnings of Unofficial Music in the Soviet Union." Journal of the American Musicological Society 58, no. 1 (2005): 139–207. http://dx.doi.org/10.1525/jams.2005.58.1.139.

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Abstract This article examines the compositional history and early reception of Soviet composer Andrey Volkonsky's two earliest and most important serial compositions, Musica Stricta and Suite of Mirrors (Syuita zerkal). These two works spurred on the formation of an unofficial music culture in the Soviet Union during the Thaw of the late 1950s and 1960s. Volkonsky (b. 1933) was the first and initially the most visible of a group of young Soviets known by officialdom as the “young composers” (“molodïïye kompozitorïï”). These “young composers”—among them Sofia Gubaidulina, Alfred Schnittke, Arv

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Alvim, Luíza Beatriz. "Música clássica e cinemas autorais latino-americanos: recorrências de repertório e modos de utilização." Lumina 18, no. 2 (2024): 173–90. http://dx.doi.org/10.34019/1981-4070.2024.v18.43251.

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O emprego de música preexistente é uma característica do cinema contemporâneo (Hubbert, 2014; Chion, 2019) e, no caso da música clássica, os repertórios barroco e minimalista se destacam. Observamos essas recorrências em nossa pesquisa de filmes contemporâneos autorais a partir de um mapeamento do repertório em filmes participantes dos festivais de Berlim, Cannes e Veneza. Neste artigo, detemo-nos na América Latina, com o objetivo de destacar quatro filmes que apresentam essas características de repertório, fazendo análise fílmica de sequências com música: Gloria (2013) e Uma mulher fantástica

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Stojanović, Kata. "UZAJAMNO DELOVANjE SIMETRIJE I TINTINABULI TEHNIKE U KOMPOZICIJI „FRATRES“ ARVA PERTA U KORELACIJI SA IZVOĐAČKIM ASPEKTOM DELA." Muzički talas 29, no. 52 (2023): 42–54. http://dx.doi.org/10.46793/mt52.42s.

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The paper deals with the compositional and performing approach to the analysis of Fratres by the Estonian composer Arvo Pärt. The author’s creative credo grew out of a specific artistic and life ideology that he consistently implemented in his works, through the unique musical language tintinabuli. It is combined with the principle of static and dynamic symmetries, whereby mutual action is established between them. Both analyzes were considered according to the methodology of the American musicologist John Rink. The choice of technique applied in each variation is related to the nature of tint

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Anderson, Martin. "Estonian Composers (combined Book and CD Review)." Tempo 59, no. 232 (2005): 60–66. http://dx.doi.org/10.1017/s0040298205210161.

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Ancient Song Recovered: The Life and Music of Veljo Tormis, by Mimi S. Daitz. Pendragon Press, $54.00/£36.00.The Works of Eduard Tubin: Thematic-Bibliographical Catalogue of Works by Vardo Rumessen. International Eduard Tubin Society/Gehrmans Musikförlag, E.57.TORMIS: ‘Vision of Estonia’ II. The Ballad of Mary's Land; Reflections with Hando Runnel; Days of Outlawry; God Protect Us from War; Journey of the War Messenger; Let the Sun Shine!; Voices from Tammsaare's Herdboy Days; Forget-me-not; Mens' Songs. Estonian National Male Choir c. Ants Soots. Alba NCD 20.TORMIS: ‘Vision of Estonia’ III. T

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Sanguineti Katz, Giuliana. "La vita che ti diedi di Luigi Pirandello e L’attesa di Piero Messina." Quaderni d'italianistica 39, no. 2 (2019): 7–20. http://dx.doi.org/10.33137/q.i..v39i2.33257.

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Questo articolo esamina in primo luogo il dramma di Pirandello La vita che ti diedi del 1923 e in secondo luogo il film L’attesa, del 2015, in cui il regista Piero Messina, ispirandosi al lavoro di Pirandello, ha creato un’opera profondamente originale. Sia il dramma sia il film svolgono il tema di una madre che non riesce ad accettare la morte del suo unico figlio e cerca di mantenere l’illusione che sia ancora vivo nascondendo la notizia della sua morte alla donna che lo ama e che viene a trovarlo. Nel dramma la madre trova sollievo al suo stato d’animo attraverso il suo bisogno costante di

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Нестьева, М. И. "“Shatters and Splinters. Recent Musical Theatre Impressions”." Музыкальная академия, no. 4(784) (December 21, 2023): 198–207. http://dx.doi.org/10.34690/354.

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В статье зафиксированы впечатления автора от постановок опер «Сомнамбула» В. Беллини, «Иродиада» Ж. Массне, «Орлеанская дева» П. И. Чайковского (Deutsche Oper am Rhein, Дюссельдорф), «Орфей и Эвридика» К. В. Глюка (Нижегородский театр оперы и балета). Они сопровождаются размышлениями о современных тенденциях в области театра, в том числе той, когда на пространстве того или иного объекта объединяется множество разных явлений. Также дается высокая оценка работе Московской филармонии, подчеркивается роль певцов в современном оперном театре. В связи с рассуждениями об интерпретации Восьмой симфони

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Gojowy, Detlef. "„Ex oriente ...“. Ten Composers from the Former USSR: Viktor Suslin, Dmitry Smirnov, Arvo Pärt, Yury Kasparov, Galina Ustvolskaya, Nikolai Sidelnikov, Elena Firsova, Vladimir Martynov, Andrei Eshpai, Boris Chaikovky. Hrsg. von Valeria Tsenova." Die Musikforschung 59, no. 1 (2025): 89–91. https://doi.org/10.52412/mf.2006.h1.4780.

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Williams, Linda. "Passio." Film Quarterly 60, no. 3 (2007): 16–18. http://dx.doi.org/10.1525/fq.2007.60.3.16.

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ABSTRACT A rare, sometimes horrific 74-minute assemblage of archival footage, Paolo Cherchi Usai's Passio encompasses themes of human suffering, wonder, and cruelty. The film captures the ““frenzy of the visible”” of life from the microscopic to the macroscopic as called for by the stark, minimalist music of Arvo Päärt.

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Dyachkova, Olena. "«Modification of ghosts»: conductors interpretations of Yevhen Stankovych’s Sinfonietta in 2017 and 2023." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 138 (December 22, 2023): 60–75. http://dx.doi.org/10.31318/2522-4190.2023.138.294694.

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The relevance of the study. «Sinfonietta» (1971) stands as one of the pioneering polystylistic compositions in Ukraine. This work marked the artistic debut of Yevhen Stankovych, a prominent figure in contemporary Ukrainian music, and earned him recognition. «Sinfonietta» incorporates fragments from various musical styles and compositions, each evolving independently in performance practice. It is the style and works of J. S. Bach, G. Mahler, S. Prokofiev, and I. Stravinsky. Listeners in the 1970s, 2017, and 2023 have interpreted these musical polystylistic references in diverse ways. The dynam

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Bohlman, Philip V. "Twilight of the Gods: Saga of Experimental Music in the Late USSR - Kevin C. Karnes. Sounds Beyond: Arvo Pärt and the 1970s Soviet Underground. Chicago: University of Chicago Press, 2021. xii, 193 pp. Appendix. Notes. Index. Illustrations. Photographs. Figures. $35.00, paper. $34.99, ebook. - Peter J. Schmelz. Sonic Overload: Alfred Schnittke, Valentin Silvestrov, and Polystylism in the Late USSR. New York: Oxford Univewrsity Press, 2021. xvi, 408 pp. Appendix. Notes. Bibliography. Index. Illustrations. Photographs. Figures. Tables. $99.00, hard bound." Slavic Review 83, no. 2 (2024): 338–43. https://doi.org/10.1017/slr.2024.322.

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Oinas, Mariya. "Personal information as a historical source using the example of the Estonian and other Baltic diasporas in Kazakhstan." Ajalooline Ajakiri. The Estonian Historical Journal 171, no. 1 (2020): 29–66. http://dx.doi.org/10.12697/aa.2020.1.02.

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Kõige viimase, 2009. aasta rahvaloenduse järgi elab Kasahstanis 16 miljonit elanikku, kellest 40% ei ole kasahhid. Nende hulgas on pea 130 rahvuse ja etnilise grupi esindajad. Mitmerahvuselise Kasahstani tekkimisel on keeruline kahe sajandi pikkune ajalugu. Iga etnilise grupi ajalugu Kasahstanis on unikaalne ja tihti traagiline. Osa diasporaagruppide kujunemisele Kasahstanis on pööratud väga vähe tähelepanu, nende hulgas on ka sealsed eesti, läti ja leedu vähemused. 2009. aasta rahvaloendus registreeris riigis umbes 7000 nende rahvuste esindajat, mis on vähem kui 0,1% kogu elanikkonnast.

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Brauneiss, Leo. "Arvo Pärt: „in principio“." Österreichische Musikzeitschrift 58, no. 5 (2003). http://dx.doi.org/10.7767/omz.2003.58.5.38.

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Kareda, Saale. "Arvo Pärt „Stabat Mater“." Österreichische Musikzeitschrift 63, no. 5 (2008). http://dx.doi.org/10.7767/omz.2008.63.5.32.

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Cohal, Dragos Mihai. "Arvo Part. Tintinnabuli style, religious implications." Bulletin of the Transilvania University of Braşov. Series VIII: Performing Arts, November 15, 2023, 15–30. http://dx.doi.org/10.31926/but.pa.2023.16.65.1.2.

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Born in 1935 in Estonia, the child Arvo Pärt studied piano, then attended courses at the School of Music, where he played the oboe, as a percussionist in the orchestra, and sang in the choir. He graduated from the composition class at the Tallinn Conservatory, having Heino Eller as a professor. The basis of tintinnabuli compositional style, as Paul Hillier (Paul Hillier – Arvo Pärt, New York, Oxford University Press 1997, 96) describes, is a two-part texture consisting of a ‘melodic’ voice, moving mostly gradually, from or towards a central pitch and a ‘tintinnabuli’ voice sounding the notes o

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Brauneiss, Leopold. "Arvo Pärt „Kanon pokajanen“ in Köln." Österreichische Musikzeitschrift 53, no. 5 (1998). http://dx.doi.org/10.7767/omz.1998.53.5.81.

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Irrgeher, Christoph. "Arvo Pärt: Azione Sacra „Der Weg“." Österreichische Musikzeitschrift 60, no. 4 (2005). http://dx.doi.org/10.7767/omz.2005.60.4.36.

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"CD REVIEWS." Tempo 65, no. 256 (2011): 80–98. http://dx.doi.org/10.1017/s0040298211000180.

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Arvo Pärt Benjamin SkippPhilip Glass Colin ClarkeDallapiccola Tim MottersheadFurther Reviews Bret Johnson, Paul Conway, Peter Palmer, Colin Clarke, Geoffrey Alvarez, Richard Leigh Harris, Tim Mottershead, Guy Rickards

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Holtsträter, Knut. "Arvo Pärt. Die Musik des Tintinnabuli-Stils." Die Musikforschung 61, no. 4 (2025). https://doi.org/10.52412/mf.2008.h4.4405.

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Chun, Hope. "Sonic Ritual: Defending Theological Beauty in the Music of Arvo Pärt." Wheaton writing, July 12, 2025, 3. https://doi.org/10.57076/gqqq1870.

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The theological groundedness of criticisms from MacMillan and Clarke prompts serious questions: is the beauty experienced when engaging with music of the Holy Minimalist tradition mere sentimentality? And what of the mass appeal to this music—does this speak to a larger cultural tendency towards sentimentalist ease? Through an examination of his musical attention to time and special consideration of ritual in relation to the Orthodox faith, this paper constructs a defense of theological beauty in the music of Arvo Pärt, responding to MacMillan’s critique by adjusting the criteria of what quali

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Cohal, Dragos-Mihai. "“I Am the True Vine” by Arvo Part. The stylistic and interpretative analysis. Conductor’s perspective." Bulletin of the Transilvania University of Braşov. Series VIII: Performing Arts, October 9, 2024, 77–100. http://dx.doi.org/10.31926/but.pa.2024.17.66.1.8.

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In Arvo Pärt's creation the piece “I Am the true vine” occupies a special place, being one of the few works after 1976 that belongs only peripherally to the tintinnabuli style. The use of a minimum number of elements is reflected both in melody and harmony and in rhythm, agogics, and dynamics. In keeping with the tintinnabuli style, the melodic material is eminently diatonic and the gait of the voices is mostly gradual. Pärt uses a medieval composition technique known as hocket for voice leading, where the text is divided between the upper voices, moving alternately from one voice to another.

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Davachi, Sarah C. "Looking inward: La Monte Young, Arvo Pärt, and the spatiotemporal dwelling environment of minimalist music." Divergence Press, no. 1 (March 1, 2013). http://dx.doi.org/10.5920/divp.2013.13.

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COHAL, Dragoș-Mihai. "Veni Creator for Choir and Organ by Arvo Pärt. The Stylistic and Interpretative Analysis – Conductor’s Guide." Studia Universitatis Babeş-Bolyai Musica, December 11, 2024, 223–33. https://doi.org/10.24193/subbmusica.2024.spiss3.13.

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“Veni Creator”, composed in 2006 at the request of the German Bishops’ Conference, premiered in Fulda Cathedral, Germany, conducted by Franz-Peter Huber. The work, written for mixed choir and organ, is based on the first two stanzas of a well-known Catholic hymn invoking the Holy Spirit. The composition, though fitting within Arvo Pärt’s Tintinnabuli style, diverges in several aspects, including its use of a major key (G major), a fixed meter (3/4), and a precise dynamic range. The piece creates an almost dance-like atmosphere through its melodic and rhythmic interplay between the choir and or

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Jyrämä, Annukka, Kaari Kiitsak-Prikk, and Anne Äyväri. "The art organisation’s societal engagement – do the artist’s values matter?" European Journal of Cultural Management and Policy 11 (June 1, 2021). http://dx.doi.org/10.3389/ejcmp.2023.v11iss1-article-2.

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The paper focuses on understanding the values of the artist and how they affect the art organisation, its understanding of social responsibility and related actions, especially social engagement. The values of the artist and the art organisation’s organisational identity are key drivers building social engagement with the local community. Through the lenses of institutional theory, the value concept is analysed and reflected with organisational identity and social responsibility conceptualisations. The phenomenon is examined by adopting a qualitative approach to the single case of the Arvo Pär

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Cohal, Dragos-Mihai. "„Cantate Domino canticum novum”, for Choir and Organ by Arvo Pärt. Stylistic and interpretative Analysis: Conductor’s perspective." Bulletin of the Transilvania University of Braşov. Series VIII: Performing Arts, January 20, 2025, 41–56. https://doi.org/10.31926/but.pa.2024.17.66.2.3.

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Written in 1977, the work by composer Arvo Pärt, Cantate Domino canticum novum (for organ and mixed choir), is based on the text of Psalm 96. The writing is homophonic and isorhythmic, and the tempo is lively, which, along with the piece's major tonality, constitutes exceptions in the landscape of the tintinnabuli style. The organ serves throughout the work as the Tintinnabuli voice, while the choral voices intone the Cantus firmus, taking on the role of the Melodic voice. The harmonic trajectory adheres to the tintinnabuli tradition: the entire work remains on the initially chosen pitch, noti

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Kõrver, Kristina. "Loomeprotsessi semiootilisest uurimisest helilooja käsikirjade näitel. Arvo Pärdi „Sieben Magnificat-Antiphonen“ lähivaates / Composer Manuscripts and the Semiotic Study of the Creative Process: A Close Reading of Arvo Pärt’s Sieben Magnificat-Antiphonen." Methis. Studia humaniora Estonica 28, no. 35 (2025). https://doi.org/10.7592/methis.v28i35.25577.

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Teesid: Artikkel käsitleb helilooja Arvo Pärdi loomeprotsessi, eelkõige selle tekstoloogilist ja intersemiootilist eripära. Analüüs keskendub kooritsükli „Sieben Magnificat-Antiphonen“ (1988) loomisloole ning põhineb Arvo Pärdi Keskuse arhiivis leiduvatel käsikirjalistel ja suulistel allikatel, mida pole varasemalt põhjalikumalt uuritud. Vaatluse all on peamiselt Pärdi visandivihikud ehk nn muusikapäevikud – omapärased arhiividokumendid, mis sisaldavad muusikalise notatsiooni kõrval ka rikkalikku verbaalset ja pildilist materjali. Toetudes Võgotski, Lotmani, Žinkini, Toropi jt töödele, võib ne

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Landsbergytė, Jūratė. "Aesthetic transformation of Chorale in new Lithuanian organ music." Menotyra 25, no. 3 (2018). http://dx.doi.org/10.6001/menotyra.v25i3.3802.

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The article aims at revealing a specific ultimate relation of the Baltic New Sacrality with chorale. Its subject-matter is chorale transformations through the ruination of architectonics of sanctum’s chorale, turning it into a horizontal and spreading space or “tower ruins” – inspiring a rise of vertical accordics to the transcendental “other space”. Examples can be three works of the Lithuanian composers for the organs: Mykolas Natalevičius’s “LA” dedicated to Loreta Asanavičiūtė (2014) and “Psalmus 150” (2017), also Algirdas Martinaitis’s “The Messenger from Heaven”, the prayer to St. Franci

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