De Uendelige Farver fra Hvidt Lys: En undersøgelse af receptionen af Arvo Pärts tintinnabuliværker, med særligt fokus på Te Deum (1985/1992/2007)

English abstract: The reception of Arvo Pärt’s religiously rooted tintinnabuli works have been wide and multifaceted. Grounded in a specific religious tradition, the Russian orthodox church, it can seem paradoxical that this music has been embraced both in the context of popular music culture, as well as in New Age settings to such a large extent, that the composer has been somewhat regarded as a popular music idol. Main themes in the academic research around these works have predominantly focused on the relationship between the works and Pärt’s religious belief, the connection between tintinnabuli and secular spirituality, while others have focused on Pärt’s reception in popular culture. This thesis, however, examines how the seemingly paradoxical, diverse, and multifaceted reception of Arvo Pärt’s religiously rooted tintinnabuli works can be understood. In other words, this thesis asks the question, of how these seemingly incongruous narratives are able exist side by side. The focal point of this investigation is Pärt’s work Te Deum (1985/1992/2007), which serves as the primary example throughout the thesis. To address this question, this thesis sets out by examining in what ways Te Deum can be perceived as a product of Pärt’s religious belief and theological reflections. Following this, the second part of the thesis is dedicated to exploring the prevalent trends in the reception, concerning themes such as tintinnabuli as music therapy, as a critique of society, the perceived spiritual demeanor of the composer, as well as the connection to American minimalism and film music. Additionally, the implication of any connection between tintinnabuli and the serialist composers from the aftermath of World War II will also be discussed. As the second part deals with narratives both connected to popular cultural phenomena, as well as narratives emanating from New Age-contexts, this part is mainly based on the theoretical foundation of Charles Taylors book A Secular Age