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Tintinnabuli (singular.tintinnabulum; from the Latin tintinnabulum, "a bell") is a compositional style created by the Estonian composer Arvo Pärt, introduced in his Für Alina (1976), and used again in Spiegel im Spiegel (1978).
Sex or symbol: erotic images of Greece and Rome by Catherine Johns, The British Museum Press (1982) ISBN 0-7141-8042-4; Eros in Pompeii: the erotic art collection of the Museum of Naples by Michael Grant, Antonia Mulas, Museo nazionale di Napoli (1997)
Tintinnabulum in the Basilica of the Holy Blood. A tintinnabulum (roughly "little bell" in Medieval Latin) is a bell mounted on a pole, placed in a Roman Catholic basilica to signify the church's link with the Pope. [1]
Tintinnabulation is the most important aspect of Pärt's Magnificat. According to Pärt's biographer and friend Paul Hillier, the Magnificat "displays the tintinnabuli technique at its most supple and refined."
Für Alina was first performed in Tallinn in 1976, along with six other works, after a long preparatory period in Pärt's life as a composer. This concert was the first to introduce his new signature style of composition, referred to as the tintinnabuli style.
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Arvo Pärt (Estonian pronunciation: [ˈɑrvo ˈpært]; born 11 September 1935) is an Estonian composer of contemporary classical music.Since the late 1970s, Pärt has worked in a minimalist style that employs tintinnabuli, a compositional technique he invented.
Spiegel im Spiegel (lit. Tooltip literal translation 'mirror(s) in the mirror') is a composition by Arvo Pärt written in 1978, just before his departure from Estonia. The piece is in the tintinnabular style, wherein a melodic voice, operating over diatonic scales, and tintinnabular voice, operating within a triad on the tonic, accompany each other.