佩爾特 (Arvo Pärt, b.1935)，愛沙尼亞當代音樂傳奇，他獨特的聲響美學，為現代音樂同時注入古老與時尚的潮流，創作力驚人，影響了許多當代的作曲家。早年的作品以器樂作品為主，從「新古典主義」、蘇維埃社會寫實主義、「十二音列」、「拼貼主義」，到蛻變後的「鐘聲風格」 (tintinabuli)，每一階段都有極大的風格轉變。

早期音樂與現代主義在佩爾特的語彙裡，無分軒輊，互為表裡，他回歸中世紀與文藝復興的簡樸純淨，追尋聲響上的空谷幽然，啟發心靈上的無限悸動，在緩進飄移中堅守調性的傳統。他不斷實驗，只為追尋音樂的核心價值。1969年《信經》首演後暫別樂壇，進入蛻變期，1976年復出後，以自創的鐘聲風格來表現音樂的冥想性，回歸東正教的宗教思想。

鐘聲風格，就是將兩條以上的旋律線交織於中心音的對位形式，主要是級進的自然音階旋律與一個或多個其他聲部發出主三和弦的和聲，又分為兩個聲部：一是級進式的主旋律聲部，代表身體與人間；二是跳進的鐘聲聲部，遊走於旋律聲部的上下音，代表靈性與天堂。這兩個聲部如同永恆的二元對等關係，在現實中亦密不可分。

本文以佩爾特的合唱音樂為研究主軸，從泛音原理、旋律的產生、和聲的形成、複音音樂的起源，循著歷史的演進脈絡，投入大量閱讀，再用科學的方式探究，就能解析出佩爾特的音樂包含了調性的抽象思維、中世紀形式的前衛風格、「後現代主義」的再演化，也是聲響行為的再進化。

佩爾特認為音樂的本質是從內而外產生的，因此他有很多同一作品出現多樣版本的現象，音色的異同是關鍵，來實踐聲響上更多的可能性，以及尋求個人宗教更深遠的精神性。

再選取十二首各時期的重要合唱作品分析、比較，並佐以聲音物理來解析不同的歌詞與配器，所產生出各異的泛音組合，讓音色的變化眼見為憑，來爬梳出佩爾特的創作思維以及轉變的跫音。

Arvo Pärt (b.1935), Estonian legend of contemporary music. His unique musical aesthetics injects ancient and fashionable trends into contemporary music. He is a prolific composer has influenced many contemporary composers. In his early years, the works were mainly instrumental music from Neo-classicalism, Soviet social Realism, Twelve-tone technique, Collageism, to the tintinabuli. There are radically style transformations in each phase.

For Pärt, there is no distinction in early and modern music. He retrace to the pure musical style of the Medieval and Renaissance period. He pursues the silent and secluded sound, inspires the infinite stimulation, and preserves the tradition of tonality in slow tempo. He keeps experimenting for exploring the core value of music. After the premiere of Credo in 1969, he entered so-called “period of silence” and ceased serious composition to discover the natural music essence. When he began composing again in 1976, he created a new style named “tintinnabuli” which is in meditative silence and tracks back to the religious thought of early Orthodox Church.

Tintinnabuli is the alignment of two or more melody lines in the center note, mostly stepwise diatonic melody and one or more other voices that sound only notes off the tonic triad which are divided into two voices: The first is the stepwise melodic voice which represents the body and early, and the second is the leaping tintinnabuli voice which moves around the ups and downs of the melodic voice representing spirituality and heaven. Both lines are likened to the eternally equivalent dualism and inseparable in reality.

This study focuses on comparative analysis of Pärt’s choral music. I will discover the theory of tintinnabuli with numerous readings and scientific ways and go from the origin harmonics, melody, harmony, polyphony. We will observe Pärt’s music contains tonal abstraction, the avant-garde style of the medieval form, the re-evolution of Post-modernism, and development of sound’s behavior. Those characteristics representative Pärt’s music by tracking the evolution of history.

Pärt’s believes that the essence of music is generated from the inside, so he has many different arrangements of the same works. The timbre is crucial factor to practice more sound’s possibilities and to seek personal far-reaching religious spirituality.

This study will analyze 12 masterworks to analyze and compare in every phases. In addition, I will use the method of sound’s physics to experiment that the diverse texts and instrumentations result from various combinations of overtones. This phenomenon cause to different timbres and let the changings of timbre can be seen and to organize Pärt’s compositional concept and to track his transformation.

書籍
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李振邦。《宗教音樂》。台北市：世界文物，2002。

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薩波奇．本採 (Bence Szabolcsi)，《旋律史》。譯／司徒幼。北京：人民音樂出版社，1980。

Allnutt, Gillian. Accompanied voices: poets on composers, from Thomas Tallis to Arvo Pärt edited by John Greening. Woodbridge: The Boydell Press, 2015.

Arnold, Jonathan. Sacred music in secular society. Farnham, UK: Ashgat, 2014.

Bouteneff, Peter. Arvo Pärt: Out of Silence. New York: SVS Press, 2015.

Brauneiss, Leopold. Postmodern medievalism edited by Richard Utz and Jesse G. Swan. Cambridge, UK; Rochester, NY: D.S. Brewer, 2005.

Christensen Thomas. Rameau and Musical Thought in the Enlightenment. Cambridge University Press, 1993.

Crow, Robert, trans. Arvo Pärt in Conversation. Wien: Dalkey Archive Press, 2012.

Dahlhaus, Carl. The theory of Harmonic Functions. Studies on the Origin of Harmonic Tonality. Princeton. NJ : Princeton University Press, 1990.

Brinson, Barbara A., Steven M. Demorest. Choral Music: Methods and Materials. USA: Schirmer, 1996.

Fallows, David. “Polyphonic Song” in Companion to Medieval and Renaissance Music, edited by Tess Knighton & David Fallows. New York: Oxford University Press, 1997.

Gardner, Johann von. Russian Church Singing: Orthodox Worship and Hymnography. Crestwood, NY: St. Vladimir's Seminary Press, 1980.

Griffiths, Paul. Modern Music-A concise history from Debussy to Boulez. New York:Thames & Hudson, 1994.

Grout, Donald, J. Peter Burkholder and Claude V. Palisca. A History of Western Music 8th. New York; London: W.W.Norton & Company, 2010.

Hillier, Paul. Arvo Pärt. Oxford; New York: Oxford University Press, 1997.

Hoppin, Richard H. Medieval Music. New York: W.W. Norton & Company, 1978.

Jackson, Philip T. “Mass Polyphony” in Companion to Medieval and Renaissance Music, edited by Tess Knighton & David Fallows. New York: Oxford University Press, 1997.

Moody, Rick. On celestial music: and other adventures in listening. New York: Back Bay, 2012.

Nilsson, Martin P. Greek Popular Religion. New York: Columbia University Press,1947.

Ouspensky, Leonid. Theology of the Icon. New York: St. Vladimir's Seminary Press,2006.

Rameau, Jean-Philippe. Treatise on Harmony. Translated by Philip Gossett. New York: Dover, 1971.

Ramdel, Don Michael. “Transcription,” The New Harvard Dictionary of Music. Massachusetts: The Belknap Press of Harvard University, 1986.

Riemann, Hugo. Dictionary of music. London: Augener, 1908.

Schmelz, Peter. Such Freedom, If Only Musical: Unofficial Soviet Music During the Thaw. New York: Oxford University Press, 2009.

Shenton, Andrew, edit. The Cambridge companion to Arvo Pärt. Cambridge: New York: Cambridge University Press, 2012.

_____. Arvo Pärt's Resonant Texts: Choral and Organ Music 1956–2015. Cambridge: Cambridge University Press, 2018.

Schoenberg, Aronld. Theory of harmony, translated by Roy E. Carter. Berkeley: University of California, 1978.

Thompson, William Forde. Music, Thought, and Feeling 2nd edition. New York: Oxford University Press, 2015.

Trippett, David. Wagner’s Melodies aesthetics and materialism in German musical Identity. New York: Cambridge University Press, 2013.

Ulrich, Homer. A Survey of Choral Music. US: Harcourt Brace Jovanovich, 1973.

Wellesz, Egon, A History of Byzantine Music and Hymnography, Oxford: Clarendon Press, 1949.

Yudkin, Jeremy. Music in Medieval Europe. Englewood Cliffs: Prentice Hall, 1989.

期刊
趙菁文。〈那一位溫和的巨人與我(I): 進入鐘聲的內在，邁向頻譜的時代〉。《音樂研究》第28期，64-68。

Annette Morreau. "Tallinn, Paide, Rakvere: Estonian Dreams." Tempo 60, no. 236 (2006): 48-49.

Corrigan, Kevin; Harrington, L. Michael, Pseudo-Dionysius the Areopagite. Stanford Encyclopedia of Philosophy, 2014.

Clarke, David and Arvo Pärt. "Parting Glances: David Clarke Reappraises the Music and the Aesthetics of Arvo Pärt." The Musical Times 134, no. 1810 (1993): 680-84.

Elste, Martin. “An Interview with Arvo Pärt.” Fanfare Vol.11, 4 (1998): 340, quoted in Grace Kingsbury Muzzo, “Systems, Symbols, & Silence: The Tintinnabuli Technique of Arvo Pärt into the Twenty-First Century,” The Choral Journal Vol. 49, No. 6 (December 2008): 22-35.

Fisk, Josiah. “The New Simplicity: The Music of Górecki, Tavener and Pärt.” The Hudson Review Vol. 47, No. 3 (Autumn 1994): 394-412.

Fletcher, Neville. H., and Rossing. Thomas. D. The Physics of Musical Instruments. New York: Springer-Verlag, 1991.

Graubart, Michael. Letter to the Editor Tempo, Vol. 63, No. 250 (Oct., 2009), 98-99.

Harvey, Jonathan. “Mortuos Plango, Vivos Voco: A Realization at IRCAM.” Computer Music Journal 5, no. 4 (Winter 1981): 22-24.

Henderson, Lyn. "A Solitary Genius: The Establishment of Pärt's Technique (1958- 68)." The Musical Times 149, no. 1904 (2008): 81-88.

Herbert, Trevor. The Trombone -Yale Musical Instrument Series. London:Yale University Press, 2006.

Hillier, Paul. "Arvo Pärt: Magister Ludi." The Musical Times 130, no. 1753 (1989):134-137.

Hilliert, Richard. “The Liturgical Choral Music of Henry Corecki and Arvo Pärt.”Cross Accent 7, 1996, 19. Quoted in Grace Kingsbury Muzzo, “Systems, Symbols &

Maimets-Volt, Kaire. "Arvo Pärt's Tintinnabuli Music in Film." Music and the Moving Image 6, no. 1 (2013): 55-71.

McCartney, Jamie. “An interview with Arvo Pärt.” The Musical Times, Vol.130 (Mar.,1989): 130-33.

Moody, Ivan. "Górecki: The Path to the 'Miserere'. Like Arvo Pärt, Górecki Finds Voices a Natural Medium for His Music." The Musical Times 133, no. 1792 (1992): 283-84.

Muzzo, Grace Kingsbury. “Systems, Symbols, & Silence: The Tintinnabuli Technique of Arvo Pärt into the Twenty-First Century.” The Choral Journal Vol. 49, No. 6 (December 2008): 22-35.

Quinn, Peter. "Out with the Old and in with the New: Arvo Pärt's 'Credo'." Tempo, no.211 (2000): 16-20.

_____. "Westminster Abbey: Arvo Pärt's 'Triodion'." Tempo, no. 205 (1998): 22.

Roeder, John. "Transformational Aspects of Arvo Pärt's Tintinnabuli Music." Journal of Music Theory 55, no. 1 (2011): 1-41. 48-49.

Schenbeck, Lyn. “Discovering the Choral Music of Estonian Composer Arvo Pärt.” The Choral Journal Vol. 34, No. 1 (August 1993): 23-30.

Skipp, Benjamin. “Out of Place in the 20th Century: Thoughts on Arvo Pärt's Tintinnabuli Style.” Tempo Vol. 63, No. 249 (Jul. 2009): 2-11.

Smith, Geoff. “An Interview with Arvo Pärt: Sources of Invention.” The Musical Times Vol. 140, No. 1868 (Autumn 1999): 19-25.

學位論文

R. Thomas Day, Jr. Arvo Pärt: Transcendence in the Heart of Secularity. Lee University, 2015.

Greenbaum, Stuart. Arvo Pärt’s Te Deum: A Compositional Watershed. The University of Melbourne, 1999.

Holm, Thomas Robert. “Analysis and comparison of three major vocal/instrumental works of Arvo Part: "Passio", "Miserere", and "Litany"”. University of Illinois at Urbana-Champaign, 1998.

Kongwattananon, Oranit. “Arvo Pärt and three types of his tintinnabuli technique.” University of North Texas, 2013.

網路
盧俊義。《聖經導讀：詩篇》。 http://chungi.biblekm.com.tw/f2guide/index.php?load=read&id=57。 (2018/02/18)

《丁道爾聖經註釋》。 http://www.ccbiblestudy.org/Old%20Testament/19Psa/19CT130.htm。(2018/02/19)。

Arvo Pärt Center. http://www.arvopart.ee/en/. 2017/11/27.

Bossis, Bruno.Analyse de Mortuos plango, vivos voco de Jonathan Harvey par Bruno Bossis. http://brahms.ircam.fr/analyses/mortuos/ (accessed 2018/08/26)

Estonian Music Information Center-Harri Osta. http://www.emic.ee/?sisu=heliloojad&mid=58&id=119&lang=eng&action=view&method=biograafia (2018/01/30).

Lubow, Arthurr. “The Sound of Spirit.” The New York Times, October 15, 2010. http://www.nytimes.com/2010/10/17/magazine/17part-t.html?pagewanted=all (2018/02/15).

Hyperion Records. http://www.hyperion-records.co.uk/dw.asp?dc=W15697_GBAJY1405608. 2017/11/27.

Schouten, Jan Frederik. “The residue- a new component in subjective sound analysis.” Natuurkundig Laboratorium der N.V. Philips' Gloeilampenfabrieken. Eindhoven, Holland, 1940. http://www.dwc.knaw.nl/DL/publications/PU00017418.pdf. (accessed 2018/08/26).

樂譜
Arvo Pärt: Collected Choral Works
An den Wassern zu Babel saßen wir und weinten
Beatus Petronius
Cantate Domino canticum novum
Da pacem Domine
De profundis
Dopo la vittoria
Gebet nach dem Kanon
I Am the True Vine
Littlemore Tractus
Magnificat
Memento (Ode VII)
Missa syllabica (a cappella)
Most Holy Mother of God
Nunc dimittis
Salve Regina
Sieben Magnificat-Anthiphonen
Solfeggio
Statuit ei Dominus
Triodion
Veni creator
Which Was the Son of ...
Zwei slawische Psalmen

以下資料作者皆為Arvo Pärt，出版者皆為Universal Edition，按照年代排序：
Zwei Sonatinen für Klavier, 1959.
Partita, 1959.
Our Garden, 1959/ 2003.
Für Alina, 1976.
Credo. 1982.
Te Deum for chorus, string orchestra and tape 1984.
An den Wassern zu Babel saßen wir und weinten for voices or choir and organ or ensemble, 1976/1984.
Alleluia-Tropus, 2008/2010.
Summa for chorus, 1977.
De profundis for men's voices, percussion (ad lib.) and organ,1980.
Passio for soloists, vocal ensemble, choir and instrumental ensemble, 1982.
Miserere for soloists, choir, ensemble and organ, 1989/1992.
Bogoróditse Djévo (rus. Богородице Дево) for chorus, 1990.
The Beatitudes for mixed choir (SATB) and organ, 1990
Berliner Messe for SATB soloists or chorus with organ or string orchestra,1990/1992.
Litany for soloists, chorus and orchestra, 1994.
Tribute to Caesar for chorus, 1997.
Peace upon you, Jerusalem for female chorus, 2002.
Most Holy Mother of God for four voices, 2003.
In Principio for chorus and orchestra, 2003.
Anthem of St John the Baptist written for St John's College, Oxford, 2005.
The Deer's Cry written for chorus for Louth Contemporary Music Society, Ireland,2008.
Adam's Lament for mixed choir and string orchestra, 2009. Stefano Vicelli. De Profundis Clamavi.

Ockeghem, Johannes. Missa Prolationum. Collected Works 2nd edition. New York: American Musicological Society, 1966.

Shostakovich, Dmitri. Song of the Forest. 樂韻出版社。
有聲資料
Pärt, Arvo. A Portrait: His Works ． His Life. Various artists. Naxos 8.558.182.

_____. Music for Unaccompanied Choir. Elora Festival Singers/ Noel Edison. Naxos 8.570239.

_____. Choral Music: Da pacem Domine. Latvian Radio Choir, Sigvards Kļava. Ondine ODE 1286-2.

_____, Berliner Messe ． Magnificat ． Summa. Elora Festival Singers/ Orchestra Noel Edison. Naxos 8.557299.

_____. Magnificat Antiphonen. Cappella Breda/ Daan Manneke. Wijnand van Hooff- WVH 054.

_____. Collage. Neeme Järvi/ Philharmonia Orchestra. Chandos ‎– CHAN 9134.

_____. Piano Music. Ralph van Raat. Naxos 8.572525.

_____. Symphony No.4, Los Angeles Philharmonic/ Esa-Pekka Salonen/ Estonian Philharmonic Chamber Choir/ Tonu Kaljuste. ECM New Series 2160.

_____. Kanon Pokajanen. ECM 1654/55, 1998.

_____. Passio .Paul Hillier, dir., by Arvo Pärt, Hilliard Ensemble, ECM New Series 837109 (1988).

_____. Johannes Passion .Tauno Satomaa. dir.,by , Candomino Choir, Finlandia Records (2001).

_____. Passio. Antony Pitts, dir., by Arvo Pärt, Tonus Peregrinus, Naxos 8555860 (2003).

訪問
Whitacre, Eric. Phone Interview by author. 2017/07/08.

電子郵件
Kopra, Karin. 電子郵件。