Arvo Pärt's Resonant Texts

Cover -- Half-title -- Title page -- Copyright information -- Dedication -- Table of contents -- List of Figures -- List of Tables -- List of Music Examples -- Preface -- Acknowledgments -- Author's Notes -- 1 Prelude: Resonant Texts -- Analysis -- The Pärt Centre -- Authorial Intent -- Pärt's Sphere of Influence -- 2 Credo: 1956-1976 -- Works for Children -- First Major Choral Work: Our Garden -- Orchestral and Chamber Works -- Credo -- 3 Interlude: Audible Light -- Basic Principles of Tintinnabulation -- Bells -- Current Theoretical Explanations and Evaluations -- Tintinnabulation and Meaning -- Dissonance-Based Analysis -- The Influence of Text and Image -- 4 Passio: 1976-1982 -- The Early Tintinnabuli Instrumental Works -- Sarah/Modus -- Pärt and the Organ -- Organ and Voices -- Annum per Annum -- Passio: A Pinnacle of Tintinnabulation -- 5 Interlude: The Numinous Encounter -- Pärt's Religious Background and Convictions -- Pärt and St. Silouan of Athos -- God's Ambassador -- Oeuvre Analysis -- Christian Humility and Pärt's Theology of Word and Sound -- The Numinous Encounter -- The Iconic and Transcendent Properties of Pärt's Music -- Keys to Understanding: Mentalese and Anagogy -- 6 Kanon: 1982-1997 -- Psalm Settings -- Stabat Mater -- Te Deum -- Analysis -- Reception History -- Works for Strings and Minor Works -- Magnificat -- Miserere -- Section 1 -- Section 2 -- Section 3 -- Section 4 -- Transformations in The Beatitudes -- Two Choirs and Two Organs -- Score Revision -- Berliner Messe -- Litany -- Criticism of Pärt -- A Cantata for Milan -- Kanon Pokajanen -- 7 Interlude: Performance Practice -- Pärt on Performance -- Performers on Performance -- The Question of Interpretation -- The Score and Its Value -- Authorized Recordings -- Interpreting Pärt -- 8 Lamentate: 1997-2003 -- Two Anthems for Karlstad