Arvo Pärt

Scholarly writing on the music of Arvo Part is situated primarily in the fields of musicology, cultural and media studies, and, more recently, in terms of theology/spirituality. Arvo Part: Sounding the Sacred focuses on the representational dimensions of Part's music (including the trope of silence), writing and listening past the fact that its storied effects and affects are carried first and foremost as vibrations through air, impressing themselves on the human body. In response, this ambitiously interdisciplinary volume asks: What of sound and materiality as embodiments of the sacred, as historically specific artifacts, and as elements of creation deeply linked to the human sensorium in Part studies? In taking up these questions, the book "e;de-Platonizes"e; Part studies by demystifying the notion of a single "e;Part sound."e; It offers innovative, critical analyses of the historical contexts of Part's experimentation, medievalism, and diverse creative work; it re-sounds the acoustic, theological, and representational grounds of silence in Part's music; it listens with critical openness to the intersections of theology, sacred texts, and spirituality in Part's music; and it positions sensing, performing bodies at the center of musical experience. Building on the conventional score-, biography-, and media-based approaches, this volume reframes Part studies around the materiality of sound, its sacredness, and its embodied resonances within secular spaces.

Scholarly writing on the music of Arvo Pärt is situated primarily in the fields of musicology, cultural and media studies, and, more recently, in terms of theology/spirituality. Arvo Pärt: Sounding the Sacred focuses on the representational dimensions of Pärt’s music (including the trope of silence), writing and listening past the fact that its storied effects and affects are carried first and foremost as vibrations through air, impressing themselves on the human body. In response, this ambitiously interdisciplinary volume asks: What of sound and materiality as embodiments of the sacred, as historically specific artifacts, and as elements of creation deeply linked to the human sensorium in Pärt studies? In taking up these questions, the book “de-Platonizes” Pärt studies by demystifying the notion of a single “Pärt sound.” It offers innovative, critical analyses of the historical contexts of Pärt’s experimentation, medievalism, and diverse creative work; it re-sounds the acoustic, theological, and representational grounds of silence in Pärt’s music; it listens with critical openness to the intersections of theology, sacred texts, and spirituality in Pärt’s music; and it positions sensing, performing bodies at the center of musical experience. Building on the conventional score-, biography-, and media-based approaches, this volume reframes Pärt studies around the materiality of sound, its sacredness, and its embodied resonances within secular spaces.