Pärt, A.의 영적 미니멀 음악의 특성 연구

Abstract

Pärt, A. is an Estonia-born contemporary composer, known as a spiritual (holy, religious) minimalist. His music is broadly accepted and appreciated by the large spectrum of audiences, as well as musicians, dancers and artists. Beginning from 2011, he was the most performed living composer for 8 years in a row. Even though his works are categorized as minimal music, which has been probably the most influential trend in the music scene since 1960’s to the present day, Pärt, A.’s style is distinguished by his unique musical language called “tintinnabuli”. In this study, Pärt, A.’s musical characteristics are being drawn from the instrumental works, which he composed from 1976 through 1978, with his “tinitnnbuli” technique. These compositions were also used by numerous choreographers in their works. Despite the popularity and the recognition of his music, there has not been much research on the composer in Korea, especially focusing on his musical style and characteristics, as well as in connection with dance music. Since the music of Pärt, A. is generally described as “spiritual minimal music”, it is necessary to look closely into both the spiritual aspect and that of compositional style and technique of his music. Also, it is important to know the foundational background to the birth of his musical language, which would be Eastern Orthodox Church, early music, and minimal music. Basic principles of “tintinnabuli” technique and its applications in the works demonstrate minimal characteristics in its construction, by being basically tonal, using extremely simple materials, a triad and two monodic melodies, with process technique. His minimal characteristics can be best explained by reduction to the most essential, which eventually leads to concentrating on the most important. Pärt, A.’s music and its technical characteristics, with the influence of the composer’s values and convictions in his Christian faith, produce aesthetic characteristics of spiritual sensitivity, by silence and sound. Furthermore, the response to this music is displayed by its social characteristics, which can be described as inclusiveness. His music is grounded firmly on his Christian faith, yet the audience, regardless of their religion, share spiritual experience with Pärt, A.’s works. His music has strong sentiment of the past, with the spirit of Medieval plainsongs and early polyphony, yet the musical languages he employs are quite modern, in that he does not use the techniques of the past as they are, such as church modes and functional harmony. And finally, the music of Pärt, A., composed for concert performances, does not stay only in concert halls, but are being used and expanded in collaborations with other genres of performing arts, such as dance, films, TV, and theatre. Pärt, A.’s music and its characteristics point us toward what we see as truly contemporary music, and give us an example of the kind of music people of this present day would need and appreciate. It is with high expectations that his music, with its spirituality and messages of hope and unity, would continue to be used effectively in choreographic works and dance education.