Arvo Pärt’s manipulation of the tintinnabular style in three representative choral works: An den Wassern zu Babel saẞen wir und weinten (1976), And One of the Pharisees (1992), and Adam’s Lament (2009)

Lee, Myeong Hwan

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Description

Title

Arvo Pärt’s manipulation of the tintinnabular style in three representative choral works: An den Wassern zu Babel saẞen wir und weinten (1976), And One of the Pharisees (1992), and Adam’s Lament (2009)

Author(s)

Lee, Myeong Hwan

Issue Date

2020-07-17

Director of Research (if dissertation) or Advisor (if thesis)

Alwes , Chester

Doctoral Committee Chair(s)

Alwes , Chester

Committee Member(s)

• Megill , Andrew
• Robinson , Dana
• Taylor, Stephen

Department of Study

Music

Discipline

Music

Degree Granting Institution

University of Illinois at Urbana-Champaign

Degree Name

A.Mus.D.

Degree Level

Dissertation

Keyword(s)

An den Wassern zu Babel saßen wir und weinten (Psalm 137), And One of the Pharisees (1992), Adam's Lament (2009)

Abstract

The purpose of this dissertation is to demonstrate an approach to the comparison of the three choral works by Arvo Pärt. These are: An den Wassern zu Babel saßen wir und weinten for voices or mixed choir (Psalm 137) for SATB and organ, And One of the Pharisees… (1992) for 3 voices or 3-part choir (Ct/ATB) a cappella, and Adam’s Lament (2009) for SATB choir and string orchestra. While all these choral works employ the tintinnabular style that Pärt invented in the 1970s, he has modified in each successive composition. For this dissertation, I will examine the stylistic changes, harmonic language, use of T & M voices, and the texts of the three choral works. In the introduction, I will briefly discuss Pärt’s pre-tintinnabular stage, including the political restrictions placed on him in the 1960s and 1970s. Chapters 2, 3, and 4 will focus on textural and musical analysis each separate work using in text, formed structure, stylistic textural modification, Pärt’s using of dissonance, and evolving role of the T and M voices. By so doing, his progress over three decades of the tintinnabular style will become clear. The chapter 4 (Adam’s Lament) will provide a comprehensive overview of the use of its components at the current end point of the invention.

Graduation Semester

2020-08

Type of Resource

Thesis

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http://hdl.handle.net/2142/108619

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(e.g., Copyright 2020 Myeong Hwan Lee)

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