Scholarly writing on the music of Arvo Part is situated primarily in the fields of musicology (analyzing Part's signature "tintinnabuli" method), cultural and media studies (Part's audience is uncannily broad within and beyond the contemporary classical world) and, more recently, in terms of theology/spirituality (Part is primarily a composer of sacred music). For the most part, this work is centered around 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, Arvo Part: Sounding the Sacred "de-Platonizes" Part studies by demystifying the notion of a single "Part sound." 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.
Industry Reviews
This is a thorough and impressive attempt to challenge de-materialised readings of Part's music, concentrating especially on the sheer physicality of sound and hearing. It is likely to set new directions in studies of this beguiling composer, and open up fresh avenues in the wider field of music and theology.
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