tintinnabulation

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Related to Tintinnabuli: tintinnabulum, Arvo Part

tintinnabulation

the act or an instance of the ringing or pealing of bells
References in periodicals archive ?
ties of these languages are central to the tintinnabuli process and are largely responsible for the characteristic tone of each work.
1996) precedes Part's tintinnabuli music, it nevertheless employs many of the same principles that Part has codified in his later style.
1996), a setting of Psalm 95 (Vulgate), exemplifies the various symmetries generated in Part's early tintinnabuli technique.
1996), here in versions with and without organ, continues Part's earliest and most strict approach to the tintinnabuli process with a setting of the Latin Mass.
An opening instrumental episode ushers in the Psalm text through a combination of Part's more developed tintinnabuli techniques--the lower strings filter loosely imitative material through the chromatic space of a tenth while the upper parts pull away from this descent through rising, drone-like pitches, against which the pervasive dissonances of seconds define themselves.
Similarly, the years leading up to the invention of the tintinnabuli style were filled with the writing of exercises in which, for instance, 'he would draw a shape, such as the outline of wings or a landscape, and then create a melodic line that would fill that shape' (p.
Hillier relates the emergence of Part's tintinnabuli style to his study of early music, identifying a number of parallels in terms of word-setting, the use of drones and the cantus firmus; but he concludes that Part 'followed the principles in spirit rather than to the letter' (p.
At one level, the analysis in terms of M- and T-voices provides an excellent account of the pitch content of Part's tintinnabuli works.
No doubt Part would cavil at the description of his tintinnabuli style as 'minimalist'.
Although lasting only five minutes, Summa merits quite detailed exploration, since it embodies much that is typical of Part's tintinnabuli style.
A similar free play within strictly defined constraints also inheres in the relationship between the two voices of each duo--between, that is, the tintinnabuli and the scalic lines.
Except in the last two bars, its rhythmic vocabulary is confined to crotchets, minims and quavers (these last made available to the tintinnabuli parts only).