Relevant bibliographies by topics / Tintinnabuli

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Tintinnabuli'

Author: Grafiati
Published: 4 June 2021
Last updated: 3 February 2022

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Journal articles on the topic "Tintinnabuli"

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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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Michael Chikinda. "Pärt's Evolving Tintinnabuli Style." Perspectives of New Music 49, no. 1 (2011): 182–206. http://dx.doi.org/10.1353/pnm.2011.0007.

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Maimets-Volt. "Arvo Pärt's Tintinnabuli Music in Film." Music and the Moving Image 6, no. 1 (2013): 55. http://dx.doi.org/10.5406/musimoviimag.6.1.0055.

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Michael Chikinda. "Pärt's Evolving Tintinnabuli Style." Perspectives of New Music 49, no. 1 (2011): 182. http://dx.doi.org/10.7757/persnewmusi.49.1.0182.

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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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Roeder, J. "Transformational Aspects of Arvo Part's Tintinnabuli Music." Journal of Music Theory 55, no. 1 (2011): 1–41. http://dx.doi.org/10.1215/00222909-1219187.

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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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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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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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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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Dissertations / Theses on the topic "Tintinnabuli"

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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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May, Christopher Jonathan. "System, gesture, rhetoric : contexts for rethinking tintinnabuli in the music of Arvo Pärt, 1960-1990." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:b54c2749-f35b-4fdc-91d7-8fd1d28e91b3.

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This thesis addresses critical strategies that have been used, or might be used, to approach Pärt's tintinnabuli music. It has three main objectives: to question prevalent narratives drawn around the tintinnabuli concept, to suggest interpretative frameworks that could yield fresh insights into that concept's 'meaning', and to introduce new and neglected materials to anglophone Pärt discourse. In studying the mediating role of the tintinnabuli scholar, I also confront some of the ethical challenges associated with research on living composers. This project places special emphasis on localise
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Votta, Junior Alfredo. "A musica tintinabular de Arvo Part." [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284022.

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Orientador: Denise Hortencia Lopes Garcia<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Arte<br>Made available in DSpace on 2018-08-14T23:08:27Z (GMT). No. of bitstreams: 1 VottaJunior_Alfredo_M.pdf: 13778431 bytes, checksum: cbba6684483b3568f6d78a26e474efea (MD5) Previous issue date: 2009<br>Resumo: O compositor estoniano Arvo Pärt, nascido em 1935 e radicado na Alemanha desde os anos 1980, tem sido objeto de atenção do mundo musical por sua peculiar linguagem modal baseada na técnica tintinnabuli, formulada e nomeada pelo próprio Pärt. Esta técnica se baseia n
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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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Medic, Ivana. "The Challenges of Transition: Arvo Pärt’s ‘Transitional’ Symphony No. 3 between Polystylism and Tintinnabuli." 2015. https://ul.qucosa.de/id/qucosa%3A16152.

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As part of my doctoral research on Alfred Schnittke’s symphonies I analysed countless symphonies written not only by Schnittke ([Al’fred Šnitke] 1934–1998) himself, but also by a host of his Soviet contemporaries including Galina Ustvolskaya ([Galina Ustvol’skaâ] 1919–2006), Boris Chaikovsky ([Boris Cajkovskij] 1925–1996), Nikolai Karetnikov ([Nikolaj Karetnikov] 1930–1994), Sofia Gubaidulina ([Sofiâ Gubajdulina] born 1931), Valentin Silvestrov ([Valentin Silvestrov] born 1937), Boris Tishchenko ([Boris Tiˆsenko] 1939–2010) and many others. Among them, the symphonies by the Estonian composer A
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Hui-Lun, Chen, and 陳慧倫. "Hui-Lun Chen Violin Recital(with a Supporting Paper: An Interpretation of Arvo Pärt’s Tintinnabuli Style: “ Fratres” for Violin and Piano )." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/66059216142179712723.

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碩士<br>國立交通大學<br>音樂研究所<br>93<br>This paper is focused on the music of the Estonia composer Arvo Pärt and his “tintinnabuli style,” as demonstrated in “Fratres” for violin and piano(1980). This paper documents the aesthetic origins and compositional philosophy of Pärt's music, accompanied with a detailed analysis of the stylistic practice and musical structure of “Fratres.”
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Books on the topic "Tintinnabuli"

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Society, Tintinnabulum Young Poets. Tintinnabulum Young Poets Society, summer 2008. The Society], 2008.

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Henry, Dora P. The recent species of Megabalanus (Cirripedia, Balanomorpha) with special emphasis on Balanus tintinnabulum (Linnaeus) sensu lato. Rijksmuseum van Natuurlijke Historie, 1986.

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Hermann, Conen, ed. Arvo Pärt: Die Musik des Tintinnabuli-Stils. Dohr, 2006.

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Lanagan, Margo, and Rovina Cai. Tintinnabula. Little Hare Books, 2018.

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Sylvain, Matton, and Benítez Miguel, eds. Tintinnabulum naturae: Rêveries d'un individu semi homme semi bête engendré d'une négresse et d'une orang-outang. Suivi de, Pensées métaphisiques lancées dans le tourbillon et de quelques poésies et pièces fugitives, par un solitaire de Champagne. Archè, 2002.

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Book chapters on the topic "Tintinnabuli"

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Karnes, Kevin C. "Arvo Pärt’s Tintinnabuli and the 1970s Soviet Underground." In Arvo Pärt. Fordham University Press, 2020. http://dx.doi.org/10.5422/fordham/9780823289752.003.0005.

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This chapter focuses on early, largely forgotten engagements between Pärt, tintinnabuli, and student culture in the 1970s Soviet Union. It documents the embrace of Pärt’s new style among students and young artists and depicts how an informal network of Soviet youth and young musicians played a crucial role in fostering and promoting his earliest tintinnabuli works between the time of the October 1976 premieres and the popular breakthrough of Tabula Rasa in the fall of 1977. While not denying the singularity of Pärt’s achievement with his new compositional language, the chapter rebuts the widespread image of Pärt as a solitary, isolated figure during the time of his greatest creative breakthrough
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Yaraman, Sevin Huriye. "In the Beginning There Was Sound." In Arvo Pärt. Fordham University Press, 2020. http://dx.doi.org/10.5422/fordham/9780823289752.003.0014.

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This paper approaches Arvo Pärt’s tintinnabuli concept as a point of entry into the unity of two seemingly oppositional states that ground human existence and underline the theology of Sufism: separation from God in longing and union with God in joy. Drawing on wide range of primary sources by classical theologians and Islamic mystics such as Ibn al-Arabi, Abu Hamid Al-Ghazali, and Abu Talib al Makki, this paper seeks to locate the theory of longing, the significance of hearing, and, ultimately, the meaning of music in Islamic mysticism. Finally, this chapter identifies a fundamental convergence between the expression of longing in Sufi poetry exemplified by Yunus Emre’s works and Arvo Pärt’s tintinnabuli technique, illuminating a closeness between the theological traditions of Orthodox Christianity and Islam.
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May, Christopher J. "Colorful Dreams." In Arvo Pärt. Fordham University Press, 2020. http://dx.doi.org/10.5422/fordham/9780823289752.003.0004.

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Pärt’s music for film, although a major component of his Soviet-era output, has received little critical attention. This chapter makes the case for studying it. Following a general overview and tabulation of Pärt’s film scores, the chapter identifies (and challenges) three main reasons why Anglo-American Pärt scholars, in particular, have consistently declined to engage with these scores: Pärt’s own attitude, Alexei Yurchak’s “binary socialism,” and a habit of partitioning Pärt’s music into discrete periods. Through a series of case studies, the chapter then illustrates the extent to which film work was a platform for Pärt’s technical development throughout his Soviet years—in Pärt’s own words, a “creative laboratory” facilitating creative flow between different spheres of compositional activity. The case studies yield both direct and indirect connections to Pärt’s tintinnabuli works, demonstrating that critical narratives of tintinnabuli will stand incomplete for as long as they ignore the film output.
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Cizmic, Maria, and Adriana Helbig. "The Piano and the Performing Body in the Music of Arvo Pärt." In Arvo Pärt. Fordham University Press, 2020. http://dx.doi.org/10.5422/fordham/9780823289752.003.0010.

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This chapter examines references to the piano in existing literature on Pärt and articulates a perspective on the piano’s role in his music. Pärt’s compositional output for the piano is relatively small; but, as his primary instrument, the piano has played an important role in the development of his sonic world. Musicians’ physical relationships with their instruments over time generate an archive of embodied knowledge and memories; bodily performance then becomes an important way in which music creates meaning for composers and performers alike. Thus, this chapter draws on representations of Pärt composing at the piano as captured in cinema, analyzing the bodies of composer and instrument in dynamic engagement. It also features a close observational analysis of performing Für Alina, Pärt’s inaugural tintinnabuli work from 1976, and what a phenomenological experience of learning and performing this piece might tell us about the expressive nature of tintinnabuli music.
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Karnes, Kevin C. "Arvo Pärt’s Tintinnabuli and the 1970s Soviet Underground." In Arvo Pärt. Fordham University Press, 2020. http://dx.doi.org/10.2307/j.ctv1199106.7.

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Siitan, Toomas. "Sounding Structure, Structured Sound." In Arvo Pärt. Fordham University Press, 2020. http://dx.doi.org/10.5422/fordham/9780823289752.003.0003.

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The chapter addresses compositional strategies in works by Arvo Pärt unifying his different creative periods. The impetus of early Flemish polyphony, which is present in the Symphony No. 3 (1971) and in the first tintinnabuli pieces (1976) is predicted in some of his earliest compositions: Pärt sought equality between the horizontal and vertical dimensions and the maximal structural reduction of composition since his serial works in 1963. The other focus of this chapter is on the specific relation of verbal text and music. The similar mathematical method for structuring music around the accents and number of syllables in words, such as is common in Pärt’s text-based tintinnabuli compositions, is difficult to find in any other examples of composed music, but the connection is prevalent in liturgical chanting. One parallel comes from Conrad Beissel (1691–1768)—the founder of a pietistic community in Pennsylvania and the author of a singular system of harmony for his hymns.
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Lingas, Alexander. "Christian Liturgical Chant and the Musical Reorientation of Arvo Pärt." In Arvo Pärt. Fordham University Press, 2020. http://dx.doi.org/10.5422/fordham/9780823289752.003.0013.

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Working in the spirit of recent scholarship that has enriched our understanding of change and continuity leading up to, across, and beyond Pärt’s nominally “silent” period of 1968–76, this chapter reconsiders Pärt’s relationship to Christian plainchant. The chapter suggests that in tintinnabuli emerged a musical system that recreates by different means some of the key organizational procedures of traditions of Latin, Byzantine, and Slavonic liturgical singing.
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"5. Arvo Pärt’s Tintinnabuli and the 1970s Soviet Underground." In Arvo Pärt. Fordham University Press, 2020. http://dx.doi.org/10.1515/9780823289783-005.

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Brauneiss, Leopold. "Musical archetypes: the basic elements of the tintinnabuli style." In The Cambridge Companion to Arvo Pärt. Cambridge University Press, 2012. http://dx.doi.org/10.1017/ccol9781107009899.005.

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"14. In the Beginning There Was Sound: Hearing, Tintinnabuli, and Musical Meaning in Sufi." In Arvo Pärt. Fordham University Press, 2020. http://dx.doi.org/10.1515/9780823289783-014.

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