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| Author(s): |
Alfredo Votta Junior
Total Authors: 1
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| Document type: | Master's Dissertation |
| Press: | Campinas, SP. |
| Institution: | Universidade Estadual de Campinas (UNICAMP). Instituto de Artes |
| Defense date: | 0000-00-00 |
| Examining board members: |
Denise Hortencia Lopes Garcia;
Leonardo adriano Viega Aldrovandi;
Jônatas Manzolli
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| Advisor: | Denise Hortencia Lopes Garcia |
| Abstract | |
Estonian composer Arvo Pärt, born in 1935 and living in Germany since the 1980s, has been the object of close attention by the musical world due to his peculiar modal language based on his own tintinnabuli technique. This technique builds upon the exclusive use of the three notes of a triad in at least one of the voices of a given musical texture. Pärt has been using this method since the mid-seventies. His work displays great affinity with medieval music as well. The music of the Middle Ages was studied by Pärt during his period of compositional silence from 1968 to 1976. Since that includes especially Gregorian chant, this genre is crucial for proper understanding of Pärt's work. Numerous sources (academic papers, recordings' booklets and press writings) have also pointed resemblance of Pärt's compositions with minimalism chiefly due to the ideal of stasis, additive processes and cycles. Pärt-developed and -related techniques are a fertile environment for the creation of new compositional ideas and a new approach towards ancient ideas as a means to contribute with current musical expression. (AU) | |