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This book examines the use of Arvo Pärt's pre-existing tintinnabuli compositions in contemporary film soundtracks, in order to determine the aesthetic reception of this music in film art. This is achieved primarily through film analyses that explore functions of tintinnabuli music in film, and expressive meaning this music is considered suitable to communicate. Two questions underlie this book: 1) what kind of expressive meaning could be communicated through tintinnabuli music in film; 2) what musical attributes make tintinnabuli music suitable for expressing those particular meanings? The author has focused on two representative examples of early instrumental tintinnabuli style, namely on the use of Für Alina (1976) and Spiegel im Spiegel (1978) in film soundtracks.
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