10. The Piano and the Performing Body in the Music of Arvo Pärt: Phenomenological Perspectives

Chapters in this book

1. Frontmatter i
2. Contents v
3. I. INTRODUCTION
4. 1. Arvo Pärt and the Art of Embodiment 1
5. 2. The Sound—and Hearing—of Arvo Pärt 8
6. II. HISTORY AND CONTEXT
7. 3. Sounding Structure, Structured Sound 25
8. 4. Colorful Dreams: Exploring Pärt’s Soviet Film Music 36
9. 5. Arvo Pärt’s Tintinnabuli and the 1970s Soviet Underground 68
10. III. PERFORMANCE
11. 6. The Pärt Sound 89
12. 7. The Rest Is Silence 107
13. IV. MATERIALITY AND PHENOMENOLOGY
14. 8. Vibrating, and Silent: Listening to the Material Acoustics of Tintinnabulation 129
15. 9. Medieval Pärt 154
16. 10. The Piano and the Performing Body in the Music of Arvo Pärt: Phenomenological Perspectives 177
17. V. THEOLOGY
18. 11. Presence, Absence, and the Ambiguities of Ambiance: Theological Discourse and the Move to Sound in Pärt Studies 197
19. 12. The Materiality of Sound and the Theology of the Incarnation in the Music of Arvo Pärt 208
20. 13. Christian Liturgical Chant and the Musical Reorientation of Arvo Pärt 220
21. 14. In the Beginning There Was Sound: Hearing, Tintinnabuli, and Musical Meaning in Sufi 232
22. List of Contributors 243
23. Index of Terms 247
24. Index of Persons 252
25. Works by Other Composers 256
26. Works by Arvo Pärt 257