Skip to main content Accessibility help
×
Hostname: page-component-78c5997874-v9fdk Total loading time: 0 Render date: 2024-11-09T09:14:41.350Z Has data issue: false hasContentIssue false

Select Bibliography

Published online by Cambridge University Press:  05 July 2017

Laura Dolp
Affiliation:
Montclair State University, New Jersey
Get access

Summary

Image of the first page of this content. For PDF version, please use the ‘Save PDF’ preceeding this image.'
Type
Chapter
Information
Arvo Pärt's White Light
Media, Culture, Politics
, pp. 238 - 255
Publisher: Cambridge University Press
Print publication year: 2017

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Primary Sources

Secondary Sources

Adams, John Luther, “Making Music in the Anthropocene: How Should Artists Engage with Times of Crisis?” Slate, 24 February 2015.Google Scholar
Adlington, Robert, “Moving Beyond Motion: Metaphors for Changing Sound,” Journal of the Royal Musical Association 128/2 (2003), 297318.CrossRefGoogle Scholar
Albanese, Catherine, American Spiritualities: A Reader (Bloomington: Indiana University Press, 2001).Google Scholar
Aldrick, Philip, “Who Was Sergei Magnitsky?” The Telegraph, January 21, 2011.Google Scholar
Alfeyev, Hilarion, “An Interview with Metropolitan Hilarion Alfeyev,” Crisis Magazine (2012). www.crisismagazine.com/2012/an-interview-with-metropolitan-hilarion-alfeyev.Google Scholar
Althusser, Louis, “Contradiction and Overdetermination,” in For Marx, trans. Brewster, Ben, London: Verso, 1996, pp. 87128.Google Scholar
Anderson, Jack, “Abstractions Have Their Human Side, Too,” The New York Times, 9 February 1992.Google Scholar
Anderson, Martin, “London, RAM: Pärt in Profile,” Tempo 214 (2000), 4950.Google Scholar
Ansdell, Gary, How Music Helps in Music Therapy and Everyday Life (Aldershot: Ashgate Publishing Company, 2015).Google Scholar
Appadurai, Arjun, “Introduction: Commodities and the Politics of Value,” in The Social Life of Things, ed. Appadurai, Arjun, New York: Cambridge University Press, 1988, pp. 363.Google Scholar
Aquila, Dominic, “The Music of Arvo Pärt,” Image: A Journal of the Arts and Religion 2 (1992), 110119.Google Scholar
Arendt, Hannah, The Human Condition (Chicago: Chicago University Press, 1958).Google Scholar
Aron, Leon, “The YUKOS Affair,” American Enterprise Institute: Russian Outlook, 1 October 2003.Google Scholar
Atta, Taylor Davis-Van, ed. Music & Literature No. 1: Pärt, Selby, Marcom (Music & Literature Inc., 2012). http://musicandliterature.org/subscribe/music-literature-no-1.Google Scholar
Ausoni, Alberto, Music in Art (Los Angeles: Getty Publications, 2009).Google Scholar
Bachelard, Gaston, La terre et les rêveries du repos (Paris: Corti, 1948).Google Scholar
Bakhtin, Mikhail, The Dialogical Imagination, ed. Emerson, Caryl and Holquist, Michael (Austin: University of Texas Press, 1981).Google Scholar
Balzer, David, Curationism: How Curating Took Over the Art World and Everything Else (Toronto: Coach House Books, 2014).Google Scholar
Bannister, Peter, “Arvo Pärt at 75,” pre-concert talk, Vale of Glamorgan Festival, BBC Hoddinott Hall, Cardiff, September 9, 2010. http://peterjohnbannister.com/APtribute.pdf.Google Scholar
Barker, Martin, “Violence Redux,” in New Hollywood Violence, ed. Schneider, Steven Jay, Manchester: Manchester University Press, 2004, pp. 5779.Google Scholar
Barthes, Roland, Image-Music-Text, trans. Heath, Stephen (New York: Hill and Wang, 1977).Google Scholar
Barthes, Roland, The Neutral, trans. Krauss, Rosalind E. and Hollier, Denis (New York: Columbia University Press, 2007).Google Scholar
Barthes, Roland, The Responsibility of Forms: Critical Essays on Music, Art, and Representation, trans. Howard, Richard (New York: Hill and Wang, 1985).Google Scholar
Belting, Hans, An Anthropology of Images: Picture, Medium, Body (Princeton: Princeton University Press, 2014).Google Scholar
Bender, Courtney, The New Metaphysicals: Spirituality and the American Religious Imagination (Chicago: The University of Chicago Press, 2010).CrossRefGoogle Scholar
Berlant, Lauren, “Poor Eliza,” American Literature 70/3 (1998), 635668.CrossRefGoogle Scholar
Berlioz, Hector, Mémoires, trans. Austin, Michael, http://hberlioz.com/Scores/fantas.htm, accessed 16 January 2015.Google Scholar
Bernstein, Anya, “An Inadvertent Sacrifice: Body Politics and Sovereign Power in the Pussy Riot Affair,” Critical Inquiry 40/1 (Autumn 2013), 220241.CrossRefGoogle Scholar
Birdsall, Carolyn, Nazi Soundscapes: Sound, Technology and Urban Space in Germany, 1933–1945 (Amsterdam: Amsterdam University Press, 2012).Google Scholar
Bishop, Claire, Artificial Hells: Participatory Art and the Politics of Spectatorship (New York and London: Verso, 2012).Google Scholar
Blackman, Lisa, Immaterial Bodies: Affect, Embodiment, Mediation (London: SAGE Publishing, 2012).CrossRefGoogle Scholar
Bloom, Harold, The Anxiety of Influence (London: Oxford University Press, 1973).Google Scholar
Bouteneff, Peter C., Arvo Pärt: Out of Silence (Yonkers, NY: St. Vladimir’s Seminary, 2015).Google Scholar
Bowen, Meurig, Liner notes to Triodion, CD, Polyphony, Hyperion 67375, 2003.Google Scholar
Bowen-Moore, Patricia, Hannah Arendt’s Philosophy of Natality (New York: St. Martin’s Press, 1989).CrossRefGoogle Scholar
Boxes, Jorge, “Arvo Pärt: ‘Putin es un perturbado, lo demuestra con cada cosa que hace’,” ABC, 4 March 2015.Google Scholar
Bradshaw, Susan, “Arvo Pärt,” Contact 26 (1983), 2528.Google Scholar
Brauneiss, Leopold, “Grundsätzliches zum Tintinnabulistil Arvo Pärts,” Musiktheorie 16 (2004), 4157.Google Scholar
Brauneiss, Leopold, “Musical Archetypes: The Basic Elements of the Tintinnabuli Style,” in The Cambridge Companion to Arvo Pärt, ed. Shenton, Andrew, Cambridge: Cambridge University Press, 2012, pp. 4975.CrossRefGoogle Scholar
Brauneiss, Leopold, “Time and Timelessness in Pärt’s Tintinnabuli Style,” trans. Crow, Robert, unpublished conference paper given at “Arvo Pärt: Soundtrack of an Age,” Southbank Centre, London, UK, September 2010.Google Scholar
Brower, Candace, “A Cognitive Theory of Musical Meaning,” Journal of Music Theory 44/2 (2000), 323379.CrossRefGoogle Scholar
Brown, Frank, “Musical Ways of Being Religious,” in The Oxford Handbook of Religion and the Arts, ed. Brown, Frank, Oxford: Oxford University Press, 2014, pp. 109129.CrossRefGoogle Scholar
Broyles, Michael, Beethoven in America (Bloomington: Indiana University Press, 2011).Google Scholar
Buhler, James, Neumeyer, David and Deemer, Rob, Hearing the Movies: Music and Sound in Film History (Oxford and New York: Oxford University Press, 2009).Google Scholar
Bull, Michael, Sound Moves: iPod Culture and Urban Experience (New York: Routledge, 2008).Google Scholar
Bull, Michael and Back, Les (eds.), The Auditory Culture Reader (Oxford: Berg), 2005.Google Scholar
Burnham, Scott, Beethoven Hero (Princeton: Princeton University Press, 1995).CrossRefGoogle Scholar
Cadwalladr, Carole, “Pussy Riot: Will Vladimir Putin Regret Taking on Russia’s Cool Women Punks?” The Guardian, 28 July 2012.Google Scholar
Campbell, Timothy C., Wireless Writing in the Age of Marconi (Minneapolis: The University of Minnesota Press, 2006).Google Scholar
Carbonneau, Suzanne, “Molissa Fenley,” The Washington Post, 12 October 1992.Google Scholar
Castiglia, Christopher, “Interiority,” in Keywords for American Cultural Studies, ed. Burgett, Bruce and Hendler, Glenn, New York: New York University Press, 2007. www.keywords.nyupress.org/american-cultural-studies/essay/interiority.Google Scholar
Catton, Pia, “Getting into the Spirit of Song and Dance,” The Wall Street Journal, 25 October 2010.Google Scholar
Chamberlain, Adrian, “Passionate Effort Brings Rich Results,” Canwest News Service, 10 March 2011.Google Scholar
Chana, Michael, Repeated Takes: A Short History of Recording and Its Effects on Music (London and New York: Verso, 1995).Google Scholar
Chion, Michel, Audio-Vision: Sound on Screen, ed. and trans. Gorbman, Claudia (New York: Columbia University Press, 1990).Google Scholar
Chion, Michel, Film: A Sound Art, trans. Gorbman, Claudia (New York: Columbia University Press, 2009).Google Scholar
Chivers, C.J., “A Fearless Activist in a Land of Thugs,” The New York Times, 17 July 2007.Google Scholar
Chong, Sylvia, “From ‘Blood Auteurism’ to the Violence of Pornography: Sam Peckinpah and Oliver Stone,” in New Hollywood Violence, ed. Schneider, Steven Jay, Manchester: Manchester University Press, 2004, pp. 249268.Google Scholar
Citron, Paula, “With Few Words, Clarke Says It All,” The Globe and Mail, 4 October 2007.Google Scholar
Cizmic, Maria, Performing Pain: Music and Trauma in Eastern Europe (New York: Oxford University Press, 2012).Google Scholar
Cizmic, Maria, “Transcending the Icon: Spirituality and Postmodernism in Arvo Pärt’s **Tabula Rasa and Spiegel im Spiegel**,” Twentieth-Century Music 5 (2008), 4578.CrossRefGoogle Scholar
Clarke, David and Pärt, Arvo, “David Clarke Reappraises the Music and Aesthetics of Arvo Pärt,” The Musical Times 134/1810 (1993), 680684.CrossRefGoogle Scholar
Clarke, Eric F., Ways of Listening: An Ecological Approach to the Perception of Musical Meaning (New York: Oxford University Press, 2005).CrossRefGoogle Scholar
Cobussen, Marcel, Thresholds: Rethinking Spirituality Through Music (Aldershot: Ashgate Publishing Company, 2008).Google Scholar
Collingwood, R. G., Principles of Art (Oxford: Clarendon, 1938).Google Scholar
Conen, Hermann (ed.), Arvo Pärt: Die Musik des Tintinnabuli-Stils (Cologne: Dohr Verlag, 2006).Google Scholar
Conen, Hermann (ed.), Liner notes to Arvo Pärt: Alina, Various Artists, CD, ECM New Series 1591, 1999.Google Scholar
Conen, Hermann (ed.), Liner notes to Arvo Pärt: Miserere, The Hilliard Ensemble, CD, ECM 1430, 1989.Google Scholar
Cook, Nicholas, “Methods for Analyzing Recordings,” in The Cambridge Companion to Recorded Music, ed. Cook, Nicholas, Clarke, Eric, Leech-Wilkinson, Daniel, and Rink, John, Cambridge: Cambridge University Press, 2009, pp. 221245.CrossRefGoogle Scholar
Cooper, Grosvenor, and Meyer, Leonard, “Rhythms on Lower Architectonic Levels,” in The Rhythmic Structure of Music, Chicago: University of Chicago Press, 1960, pp. 1259.Google Scholar
Cooper, Michael, “Berlin Philharmonic Plans Major Concerts in New York: [The Arts/Cultural Desk],” The New York Times, 10 December 2013.Google Scholar
Cooper, Michael, “Q and A: Gidon Kremer on Freedom and Human Rights in Russia,” The New York Times, 20 August 2013.Google Scholar
Cooper, Michael, “Tickets for Rehearsal of ‘St. Matthew Passion’,” The New York Times, 26 September 2014.Google Scholar
Coplan, Amy, “Understanding Empathy: Its Features and Effects,” in Empathy: Philosophical and Psychological Perspectives, ed. Coplan, Amy and Goldie, Peter, Oxford and New York: Oxford University Press, 2011, pp. 318.CrossRefGoogle Scholar
Coulianu, Ioan P., The Tree of Gnosis: Gnostic Mythology from Early Christianity to Modern Nihilism (New York: Harper Collins, 1992).Google Scholar
Cox, Arnie, “The Metaphoric Logic of Musical Motion and Space,” PhD diss., University of Oregon, 1999.Google Scholar
Crawford, Robert, “Robert Burns and the Mind of Europe,” in Robert Burns in Global Culture, ed. Pittcock, Murray, Lewisburg, PA: Bucknell University Press, 2011, pp. 4762.Google Scholar
Cromby, John, “Where Is the Social Body?” Review of The Meaning of the Body, by Johnson, Mark, Journal of Health Psychology 13/1 (2008), 961963.CrossRefGoogle Scholar
Cronquist, Ulf, “The Meaning of the Body: Aesthetics of Human Understanding by Mark Johnson,” Review of The Meaning of the Body, by Johnson, Mark. Language and Literature 18/1 (2009), 8386.CrossRefGoogle Scholar
Csengeri, K.E., “The Chronology of T.E. Hulme’s Speculations,” The Papers of the Bibliographical Society of America 80/1 (First Quarter 1986), 105109.CrossRefGoogle Scholar
Cumming, Naomi, “Metaphor in Roger Scruton’s Aesthetics of Music,” in Theory, Analysis and Meaning in Music, ed. Pople, Anthony, Cambridge: Cambridge University Press, 1994, pp. 126.Google Scholar
Davidson, Justin, “White Heat: The London Symphony Orchestra Brings an Overachieving Spirituality to Lincoln Center,” New York Magazine, 7 November 2011.Google Scholar
Davies, Stephen, Musical Understandings and Other Essays on the Philosophy of Music (New York: Oxford University Press, 2011).CrossRefGoogle Scholar
Day, Timothy, A Century of Recorded Music: Listening to Musical History (New Haven: Yale University Press, 2002).Google Scholar
Demers, Joanna, Listening through the Noise: The Aesthetics of Experimental Electronic Music (Oxford: Oxford University Press, 2010).CrossRefGoogle Scholar
Derrida, Jacques, Athens, Still Remains, trans. Brault, Pascale-Anne and Naas, Michael (New York: Fordham University Press, 2010).Google Scholar
DeNora, Tia, Music in Everyday Life (New York: Cambridge University Press, 2000).CrossRefGoogle Scholar
Dollar, Steve, “Moods for Moderns,” The Atlanta Journal-Constitution, 6 March 1994.Google Scholar
Dolp, Laura, “Arvo Pärt in the Marketplace,” in The Cambridge Companion to Arvo Pärt, ed. Shenton, Andrew, Cambridge: Cambridge University Press, 2012, pp. 177192.CrossRefGoogle Scholar
Dorian, Frederick, Commitment to Culture: Art Patronage in Europe – Its Significance for America (Pittsburgh: University of Pittsburgh Press, 1964).Google Scholar
Dorsky, Nathaniel, Devotional Cinema (San Francisco: Tuumba Press, 2005).Google Scholar
Duckworth, William, “Miserere: Arvo Pärt,” in 20/20: 20 New Sounds of the 20th Century, New York: Schirmer Books, 1999, pp. 151159.Google Scholar
Eagleton, Terry, The Ideology of the Aesthetic (Malden, MA: Blackwell Publishing, 1990).Google Scholar
Echard, William, “An Analysis of Neil Young’s ‘Powderfinger’ Based on Mark Johnson’s Image Schemata,” Popular Music 18/1 (1999), 133144.CrossRefGoogle Scholar
Eggebrecht, H.H., Zur Geschichte der Beethoven-Rezeption: Beethoven 1970 (Mainz: Verlag der Akademie der Wissenschaften und der Literatur, 1972).Google Scholar
Eleey, Peter, “What about Responsibility?” in Ten Fundamental Questions of Curating, ed. Hoffman, Jens, Milan: Mousse Publishing, Fiorucci Art Trust, 2013, pp. 113119.Google Scholar
Engelhardt, Jeffers, “Perspectives on Arvo Pärt After 1980,” in The Cambridge Companion to Arvo Pärt, ed. Shenton, Andrew, Cambridge: Cambridge University Press, 2012, pp. 2948.CrossRefGoogle Scholar
Engelhardt, Jeffers, Singing the Right Way: Orthodox Christians and Secular Enchantment in Estonia (New York: Oxford University Press, 2014).CrossRefGoogle Scholar
Engelhardt, Jeffers, “Solfeggio, Cantate Domino canticum novum, and other Works,” Notes 57/4 (2001), 987993.CrossRefGoogle Scholar
Feher-Gurewich, JudithIs Prohibition of Incest a Law?Journal for the Psychoanalysis of Culture and Society, 5/1 (2000), 8690.Google Scholar
Feldman, Allen, Formations of Violence: The Narrative of the Body and Political Terror in Northern Ireland (Chicago: University of Chicago Press, 1991).CrossRefGoogle Scholar
Felgenhauer, Pavel, “The Russian Security Services – The Prime Murder Suspect,” Eurasia Daily Monitor, 22 January 2009.Google Scholar
Fink, Bruce, The Lacanian Subject: Between Language and Jouissance (Princeton: Princeton University Press, 1995).Google Scholar
Fish, Stanley, Is There a Text in This Class? The Authority of Interpretive Communities (Cambridge: Harvard University Press, 1980).Google Scholar
Fisk, Josiah, “The New Simplicity: The Music of Górecki, Tavener and Pärt,” The Hudson Review 47/3 (1994), 394412.CrossRefGoogle Scholar
de Fonseca-Wollheim, Corinna, “A Battered Spirit Seeking Clues amid a Multimedia Landscape,” The New York Times, 7 July 2014.Google Scholar
Forceville, Charles, “The Meaning of the Body: Aesthetics of Human Understanding by Mark Johnson,” Review of The Meaning of the Body, by Johnson, Mark. Metaphor and Symbol 23/4 (2008), 292297.CrossRefGoogle Scholar
Freud, Sigmund, “Civilization and its Discontents,” in The Standard Edition of the Complete Works of Sigmund Freud 21, ed. Strachey, James, London: Vintage, 2001, pp. 64145.Google Scholar
Freud, Sigmund, The Interpretation of Dreams, trans. Crick, Joyce (New York: Oxford University Press, 1999).Google Scholar
Fried, Michael, Art and Objecthood: Essays and Reviews (Chicago: The University of Chicago Press, 1998).Google Scholar
Fried, Michael, Why Photography Matters as Art as Never Before (New Haven: Yale University Press, 2008).Google Scholar
Gabrielsson, Alf, Strong Experiences with Music: Music Is Much More Than Just Music (Oxford: Oxford University Press, 2011).Google Scholar
Gaitán, Juan A., “What is the Public?” in Ten Fundamental Questions of Curating, ed. Hoffman, Jens, Milan: Mousse Publishing, Fiorucci Art Trust, 2013, pp. 3339.Google Scholar
Gann, Kyle, No Such Thing as Silence: John Cage’s 4’33” (New Haven: Yale University Press, 2010).Google Scholar
Garcia, Alfa, “At Music Fest, Everything Is Illuminated,” The Record, 26 October 2010.Google Scholar
Gennep, Arnold van, The Rites of Passage (Chicago: University of Chicago Press, 1961).CrossRefGoogle Scholar
Gessen, Masha, “The Wrath of Putin,” Vanity Fair, 11 April 2012.Google Scholar
Gilbert-Rolfe, Jeremy, “Blankness as a Signifier,” Critical Inquiry 24/1 (1997), 159175.CrossRefGoogle Scholar
Giles, Patrick, “Sharps and Flats,” Salon, 18 November 1999.Google Scholar
Girard, Johan, L’Esthétique musicale de Terry Riley, Steve Reich et Philip Glass (Paris: Presses Sorbonne Nouvelle, 2010).Google Scholar
Gojowy, Detlef, “Arvo Pärt im sowjetischen Umfeld,” in Arvo Pärt: Rezeption und Wirkung seiner Musik: Vorträge des Wuppertaler Symposiums 1999, ed. Kautny, Oliver, Osnabrück: Electronic Publishing (EPOs Music), 2001, pp. 1530.Google Scholar
Goldberger, Paul, Up From Zero: Politics, Architecture, and the Rebuilding of New York (New York: Random House, 2004).Google Scholar
Goldstein, Philip, and Machor, James L. (eds.), New Directions in American Reception Study (Oxford: Oxford University Press, 2008).CrossRefGoogle Scholar
Gorbman, Claudia .Unheard Melodies: Narrative Film Music (Bloomington and Indianapolis: Indiana University Press, 1987).Google Scholar
Halbwachs, Maurice, The Collective Memory, trans. Ditter, Francis J. Jr. and Ditter, Vita Yazdi (New York: Harper and Row, 1980).Google Scholar
Harris, Geraldine, “Gender and Devising: Europe after the Rain (no man’s land),” Studies in Theatre Production 9 (June, 1994), 219.CrossRefGoogle Scholar
Harrison, Carol, The Art of Listening in the Early Church (Oxford: Oxford University Press, 2013).CrossRefGoogle Scholar
Hausmann, Vincent, “Envisioning the (W)hole World ‘Behind Things’ in Sam Mendes’s **American Beauty**,” in Cinema, Technologies of Visibility, and the Reanimation of Desire, New York: Palgrave, 2011, pp. 1347.CrossRefGoogle Scholar
Heath, Stephen, “Notes on Suture,” Screen 18/4 (Winter, 1977), 4876.CrossRefGoogle Scholar
Heggerty, George E. (ed.), Gay Histories and Cultures: An Encyclopedia (New York: Routledge, 2012).Google Scholar
Hellemans, Babette, Pranger, Burcht, and Otten, Willemien (eds.), On Religion and Memory (New York: Fordham University Press, 2013).CrossRefGoogle Scholar
Hillier, Paul, Arvo Pärt (Oxford: Oxford University Press, 1997).Google Scholar
Hillier, Paul, “Arvo Pärt: Magister Ludi,” The Musical Times 130/1753 (1989), 134137.CrossRefGoogle Scholar
Hodges, Bruce, “A Glorious Convergence: An Overview of the White Light Festival,” White Light Festival Playbill (2010), 1018.Google Scholar
Holloway, Robin, “Beware the Pitfalls of Sincerity,” in Essays and Diversions 1963–2003, Brinkworth: Claridge Press, 2003, pp. 294296.Google Scholar
Howard, Luke, “Motherhood, Billboard, and the Holocaust: Perceptions and Receptions of Górecki’s Symphony No. 3,” Musical Quarterly 82/1 (Spring 1998), 131159.CrossRefGoogle Scholar
Howe, Blake, “The Allure of Dissolution: Bodies, Forces, and Cyclicity in Schubert’s Final Mayrhofer Settings,” Journal of the American Musicological Society 62/2 (2009), 271322.CrossRefGoogle Scholar
Hulme, T.E., Speculations: Essays on Humanism and the Philosophy of Art, ed. Read, Herbert, London: Kegan Paul, Trench, Trubner & Co., 1936.Google Scholar
Isacoff, Stuart, “Moving Toward the Modern,” The Wall Street Journal, 31 October 2010.Google Scholar
Isenberg, Barbara, “A White Light amid the Bustle of the World; Lincoln Center’s Newest Music Festival Seeks a Calming Balance between Sound and Spirit,” The Los Angeles Times, 1 August 2010.Google Scholar
Jackson, Michael, The Palm at the End of the Mind: Relatedness, Religiosity, and the Real (Durham and London: Duke University Press, 2009).Google Scholar
Jackson, Michael, The Politics of Storytelling: Violence, Transgression and Intersubjectivity (Copenhagen: Museum Tusculanum Press at University of Copenhagen, 2006).Google Scholar
James, William, Varieties of Religious Experience, (1902). Republished by Penguin Group (New York: Penguin Books, 1958).Google Scholar
Johnson, Mark, The Meaning of the Body (Chicago: University of Chicago Press, 2007).CrossRefGoogle Scholar
Johnson, Mark, “What Makes A Body?The Journal of Speculative Philosophy 22/3 (2008), 159169.CrossRefGoogle Scholar
Johnson, Mark L. and Larson, Steve, “‘Something in the Way She Moves’ – Metaphors of Musical Motion,” Metaphor and Symbol 18/2 (2003), 6384.CrossRefGoogle Scholar
Jonson, Lena, Art and Protest in Putin’s Russia (New York: Routledge, 2015).CrossRefGoogle Scholar
Kahn, Douglas and Whitehead, Gregory (eds.), Wireless Imagination: Sound, Radio, and the Avant-Garde, Cambridge, MA: MIT Press, 1992.Google Scholar
Kanny, Mark, “In Praise of Tchaikovsky: Symphony Festival Looks at Tchaikovsky from Many Angles,” McClatchy-Tribune Business News, 2 February 2011.Google Scholar
Kaplan, E. Ann, Trauma Culture: The Politics of Terror and Loss in Media and Literature (Piscataway, NJ: Rutgers University Press, 2005).Google Scholar
Kapoor, Anish, Marsyas, Exhibition catalogue. London: Tate Publishing, 2002.Google Scholar
Kassabian, Anahid, Hearing Film: Tracking Identifications in Contemporary Hollywood Film Music (New York and London: Routledge, 2001).Google Scholar
Kaufmann, Stanley, “Tenor on Horseback,” New Republic, 22 October 1966.Google Scholar
Kautny, Oliver, Arvo Pärt zwischen Ost und West: Rezeptionsgeschichte (Stuttgart: Metzler Verlag, 2002).CrossRefGoogle Scholar
Kautny, Oliver (ed.), Arvo Pärt: Rezeption und Wirkung seiner Musik: Vorträge des Wuppertaler Symposiums 1999 (Osnabrück: Electronic Publishing, 2001).Google Scholar
Kautny, Oliver, “‘Dem Himmel ein Stück näher …’ Der neoromantische Mythos ‘Arvo Pärt’,” Neue Zeitschrift für Musik 5 (2002), 2427.Google Scholar
Kendrick, James, Film Violence: History, Ideology, Genre (London & New York: Wallflower, 2009).Google Scholar
Kim-Cohen, Seth, In the Blink of an Ear: Toward a Non-Cochlear Sonic Art (New York: Continuum, 2009).CrossRefGoogle Scholar
Kinder, Marsha, “Violence American Style: The Narrative Orchestration of Violent Attractions,” in Violence and American Cinema, ed. Slocum, J. David, New York & London: Routledge, 2001, pp. 63102.Google Scholar
King, Ursula, The Search for Spirituality: Our Global Quest for Meaning and Fulfilment (Norwich: Canterbury Press, 2009).Google Scholar
Kingsbury, Paul, Andrews, Gavin J., and Kearns, Robin (eds.), Soundscapes of Wellbeing in Popular Music (New York: Routledge, 2014).Google Scholar
Kisselgoff, Anna, “Dance in Review,” The New York Times, 20 January 1992.Google Scholar
Kittler, Friedrich, The Truth of the Technological World (Stanford: Stanford University Press, 2013).Google Scholar
Kivy, Peter, Music, Language and Cognition, and Other Essays in the Aesthetics of Music (New York: Oxford University Press, 2007).CrossRefGoogle Scholar
Kleinman, Arthur, “A Search for Wisdom,” The Lancet 378/9803 (2011), 16211622.CrossRefGoogle ScholarPubMed
Kleinman, Arthur, What Really Matters: Living a Moral Life amidst Uncertainty and Danger (Oxford: Oxford University Press, 2006).Google Scholar
Kogod, Lauren and Osman, Michael, “Girding the Grid: Abstraction and Figuration at Ground Zero,” Grey Room 13 (2003), 108121.CrossRefGoogle Scholar
Kogod, Lauren and Osman, Michael, New Essays in Musical Understanding (Oxford: Clarendon, 2001).Google Scholar
Korsyn, Kevin, “Response: Towards a New Poetics of Music Influence,” Music Analysis, 10/1–2 (1991), 372.CrossRefGoogle Scholar
Kowalewski, David, “Protest for Religious Rights in the USSR: Characteristics and Consequences,” Russian Review 39/4 (October 1980), 426441.CrossRefGoogle Scholar
Kozinn, Allan, “Another Wide-Ranging White Light Festival,” The New York Times, 20 June 2013.Google Scholar
Kozinn, Allan, “East Meets Farther East When the Aural Mirrors the Visual,” The New York Times, 15 March 2011.Google Scholar
Kozinn, Allan, “New Faces, Old Masters and a Shiny ‘Ring’,” The New York Times, 10 September 2010.Google Scholar
Kozinn, Allan, “Wresting Bach’s Music from Its Western Moorings,” The New York Times, 22 November 2011.Google Scholar
LaBelle, Brandon, Acoustic Territories: Sound Culture and Everyday Life (New York: Continuum, 2011).Google Scholar
LaBelle, Brandon, Background Noise: Perspectives on Sound Art (New York: Continuum, 2010).Google Scholar
Lacan, Jacques, “The Mirror Stage as Formative of the I Function as Revealed in Psychoanalytic Experience,” in Écrits, trans. Fink, Bruce, New York: W. W. Norton, 2007, pp. 7581.Google Scholar
Lacan, Jacques, “Seminar on ‘The Purloined Letter’,” in Écrits, trans. Fink, Bruce, New York: W. W. Norton, 2007, pp. 1148.Google Scholar
Lacan, Jacques, Seminar III, 1955–56, The Psychoses, ed. Miller, Jacques-Alain, trans. Grigg, Russell (New York: W. W. Norton, 1993).Google Scholar
Lacan, Jacques, Seminar VII, The Ethics of Psychoanalysis, ed. Miller, Jacques-Alain, trans. Potter, Dennis (London and New York: Routledge, 1992).Google Scholar
Lacan, Jacques, Seminar XI, The Four Fundamental Concepts of Psychoanalysis, trans. Sheridan, Alan (London: Penguin, 1979).Google Scholar
LaCapra, Dominick, Writing History, Writing Trauma (Baltimore and London: Johns Hopkins University Press, 2001).Google Scholar
Lakoff, George and Johnson, Mark, Metaphors We Live By (Chicago: University of Chicago Press, 1980).Google Scholar
Leech-Wilkinson, Daniel, The Changing Sound of Music: Approaches to the Study of Recorded Musical Performances, London: CHARM, 2009. www.charm.kcl.ac.uk/studies.Google Scholar
Leech-Wilkinson, Daniel, “Recordings and Histories of Performance Style,” in The Cambridge Companion to Recorded Music, ed. Cook, Nicolas, Clarke, Eric, Wilkinson, Daniel Leech, and Rink, John, Cambridge: Cambridge University Press, 2009, pp. 246262.CrossRefGoogle Scholar
Lerner, Neil (ed.), Music in the Horror Film: Listening to Fear (New York: Routledge, 2009).CrossRefGoogle Scholar
Levy, Clifford, “At Expense of All Others, Putin Picks a Church,” The New York Times, 24 April 2008.Google Scholar
Leys, Ruth, “The Turn to Affect: A Critique,” Critical Inquiry 37/3 (2011), 434472.CrossRefGoogle Scholar
Libeskind, Daniel, Breaking Ground: Adventures in Life and Architecture (New York: Riverhead Books, 2004).Google Scholar
Libeskind, Daniel, “Lincoln Center Begins,” The New York Times, 14 May 1959, 32.Google Scholar
Libeskind, Daniel, “Lincoln Center Honors U.S. Trust President Keith Banks at Annual Spring Gala,” PR Newswire, 26 March 2014.Google Scholar
Libeskind, Daniel, “Lincoln Center Presents the White Light Festival,” The New York Times, 17 October 2010.Google Scholar
Lubow, Arthur, “Arvo Pärt: The Sound of Spirit,” The New York Times Magazine, 17 October 2010.Google Scholar
Lynch, Gordon, The New Spirituality: An Introduction to Progressive Belief in the Twenty-First Century (London: I. B. Taurus, 2007).CrossRefGoogle Scholar
MacIntyre, Alasdair, “The Virtues, the Unity of a Human Life, and the Concept of Tradition,” in Memory, Identity, Community, ed. Hinchman, Lewis P. and Hinchman, Sandra K., Albany, NY: State University of New York Press, 2001, pp. 241263.Google Scholar
Madesani, Angela (ed.), Ad lucem: arte contemporanea per Arvo Pärt (Varese: Nomos, 2011).Google Scholar
Maimets-Volt, Kaire, “Arvo Pärt’s Tintinnabuli Music in Film,” Music and the Moving Image 6/1 (Spring 2013), 5571.CrossRefGoogle Scholar
Maimets-Volt, Kaire, Mediating the “Idea of One”: Arvo Pärt’s Pre-existing Music in Film (Tallinn: Eesti Muusika- ja Teatriakadeemia, 2009).Google Scholar
Maler, Anabel, “Compound Tintinnabulation in the Music of Arvo Pärt,” MA thesis, McGill University, 2012.Google Scholar
Massumi, Brian, “The Autonomy of Affect,” Cultural Critique 31 (1995), 83109.CrossRefGoogle Scholar
Mazo, Joseph H., “Astonishing Artistry on a Meditative Trip,” The Record, 20 January 1992.Google Scholar
McCarthy, Jamie, “An Interview with Arvo Pärt,” The Musical Times 130/1753 (1989), 130133.CrossRefGoogle Scholar
McClary, Susan, Feminine Endings: Music, Gender and Sexuality (Minneapolis: University of Minnesota Press, 1991).Google Scholar
McGowan, Todd, “Looking for the Gaze: Lacanian Film Studies and Its Vicissitudes,” Cinema Journal 42 (2003), 2747.CrossRefGoogle Scholar
McGowan, Todd, The Real Gaze: Film Theory After Lacan (Albany: SUNY Press, 2008).Google Scholar
McMahon, Jennifer A., “The Meaning of the Body: Aesthetics of Human Understanding, by Mark Johnson,” review of The Meaning of the Body, by Johnson, Mark. Mind 118 (2009), 843846.CrossRefGoogle Scholar
McQuiston, Kate, We’ll Meet Again: Musical Design in the Films of Stanley Kubrick (New York: Oxford University Press, 2013).CrossRefGoogle Scholar
Mead, Andrew, “Bodily Hearing: Physiological Metaphors and Musical Understanding,” Journal of Music Theory 43/1 (1999), 119.CrossRefGoogle Scholar
Mellers, Wilfrid, “Arvo Pärt, God, and Gospel: Passio Domini Nostri Iesu Christi Secundum Iohannem (1982),” Contemporary Music Review 12/2 (1995), 3548.CrossRefGoogle Scholar
Mellers, Wilfrid, “Te Deum; Silouans Song; Magnificat; Berliner Messe by Arvo Pärt; Estonian Philharmonic,” The Musical Times 134/1810 (December 1993), 714.CrossRefGoogle Scholar
Merleau-Ponty, Maurice, The Phenomenology of Perception, trans. Smith, Colin (London: Routledge and Kegan Paul, 1962).Google Scholar
Meyer, Leonard B., Emotion and Meaning in Music (London: University of Chicago Press, 1956).Google Scholar
Midgette, Anne, “Canonization Celebration: Gilbert Levine and the Spirit of Music,” The Washington Post, 6 May 2014.Google Scholar
Midgette, Anne, “Classical,” The Washington Post, 13 March 2011.Google Scholar
Mihkelson, Immo, “A Narrow Path to the Truth: Arvo Pärt and the 1960s and 1970s in Soviet Estonia,” in The Cambridge Companion to Arvo Pärt, ed. Shenton, Andrew, Cambridge: Cambridge University Press, 2012, pp. 1028.CrossRefGoogle Scholar
Miller, Jacques-Alain, “What is the Real?Lacanian Ink 43/44 (Spring 2014), 2122.Google Scholar
Miller, Timothy, America’s Alternative Religions (Albany: SUNY Press, 1995).Google Scholar
Minhua, Min, (ed.), Serious Games Development and Applications: 5th International Conference SGDA 2014 Berlin, Germany, Springer International Publishing, Switzerland, 2014.Google Scholar
Minors, Helen Julia (ed.), Music, Text and Translation (London and New York: Bloomsbury, 2013).CrossRefGoogle Scholar
Misiunas, Romuald, The Baltic States, Years of Dependence, 1940–1980 (Berkeley: University of California Press, 1983).Google Scholar
Monelle, Raymond, “Music Notation and the Poetic Foot,” Comparative Literature 41/3 (Summer 1989), 252269.CrossRefGoogle Scholar
Mowitt, John, Radio: Essays in Bad Reception (Berkeley: University of California Press, 2011).CrossRefGoogle Scholar
Nancy, Jean-Luc, The Fall of Sleep, trans. Mandell, Charlotte (New York: Fordham University Press, 2009).Google Scholar
Noë, Alva, Varieties of Presence (Cambridge: Harvard University Press, 2012).CrossRefGoogle Scholar
Nolan, Steve, Film, Lacan and the Subject of Religion: A Psychoanalytic Approach to Religious Film Analysis (New York and London: Continuum, 2009).Google Scholar
Oestreich, James R., “A New Faith in Classical Music: [The Arts/Cultural Desk],” The New York Times, 26 July 2012.Google Scholar
Oestreich, James R., “New Winter Festival at Alice Tully Hall,” The New York Times, 9 November 2010.Google Scholar
Orr, David, “You, Too, Could Write a Poem,” The New York Times Book Review, 21 November 2004, 24.Google Scholar
Pärt, Arvo. Liner notes to Lamentate. SWR Radio-Sinfonieorchester Stuttgart and Hilliard Ensemble, CD, ECM New Series 1930, 2005.Google Scholar
Pärt, Arvo. Symphony No. 4 “Los Angeles,” (Vienna: Universal Edition, 2008).Google Scholar
Pärt, Arvo. These Words (Vienna: Universal Edition, 2008).Google Scholar
Philip, Robert, Early Recordings and Musical Style: Changing Tastes in Instrumental Performance 1900–1950 (Cambridge: Cambridge University Press, 1992).CrossRefGoogle Scholar
Philip, Robert, Performing Music in the Age of Recording (New Haven: Yale University Press, 2004).Google Scholar
Pine, B. Joseph, and Gilmore, James H., “Welcome to the Experience Economy,” Harvard Business Review 76/4 (1998), 97105.Google Scholar
Politkovskaya, Anna, A Small Corner of Hell: Dispatches from Chechnya, trans. Burry, Alexander and Tulchinsky, Tatiana (Chicago: University of Chicago Press, 2003).CrossRefGoogle Scholar
Politkovskaya, Anna, “Poisoned by Putin,” The Guardian, 9 September 2004.Google Scholar
Puett, Michael J., “Innovation as Ritualization: The Fractured Cosmology of Early China,” Cardozo Law Review 28 (2006), 2336.Google Scholar
Quantrill, Peter, “The Face of the Unknown,” Gramophone, 10 December 2010.Google Scholar
Quinn, Peter, “Arvo Pärt: The Making of a Style,” PhD diss., University of London, 2002.Google Scholar
Quinn, Peter, “CD Review of ‘Pärt’s Lamentate’,” Tempo 60/236 (2006), 7475.CrossRefGoogle Scholar
Quinn, Peter, “Out with the Old and In with the New: Arvo Pärt’s Credo,” Tempo 54/211 (January 2000), 1620.CrossRefGoogle Scholar
Raleigh, Donald J., Soviet Baby Boomers: An Oral History of Russia’s Cold War Generation (Oxford: Oxford University Press, 2012).Google Scholar
Ramachandran, V.S., Phantoms in the Brain: Human Nature and the Architecture of the Mind (London: 4th Estate, 1999).Google Scholar
Ramachandran, V.S., The Tell-Tale Brain: Unlocking the Mystery of Human Nature (London: Windmill Books, 2012).Google Scholar
Ramey, Corinne, “Artistic Residence, Plus Night Lights; Plus ‘The Magic Flutes’ at the Met,” The Wall Street Journal, 5 October 2014.Google Scholar
Ramey, Corinne, “‘Passion’ Is Meant to Be Urgent and Very Personal,” The Wall Street Journal, 7 October 2014.Google Scholar
Randall, Kathleen, “Lincoln Center for the Performing Arts: Cultural Visibility and Postwar Urbanism,” MS thesis, Columbia University, 1992.Google Scholar
Raun, Alo, “Arvo Pärt pühendab oma teoste ettekanded Politkovskajale,” Postimees, 16 October 2006.Google Scholar
Reich, Steve, Writings on Music 1965–2000, ed. Hillier, Paul, Oxford: Oxford University Press, 2002.Google Scholar
Restagno, Enzo, Brauneiss, Leopold, Kareda, Saale, and Pärt, Arvo, Arvo Pärt in Conversation, trans. Crow, Robert (Champaign: Dalkey Archive Press, 2012).Google Scholar
Ribas, João, “What to Do with the Contemporary?” in Ten Fundamental Questions of Curating, ed. Hoffman, Jens, Milan: Mousse Publishing, Fiorucci Art Trust, 2013, pp. 95108.Google Scholar
Rice, Timothy, Ethnomusicology: A Very Short Introduction (Oxford: Oxford University Press, 2013).CrossRefGoogle Scholar
Rice, Tom, “Broadcasting the Body: The ‘Private’ Made ‘Public’ in Hospital Soundscapes,” in Music, Sound and Space: Transformations of Public and Private Experience, ed. Born, Georgina, Cambridge: Cambridge University Press, 2013, pp. 169185.CrossRefGoogle Scholar
Ricoeur, Paul, Time and Narrative, trans. McLaughlin, Kathleen and Pellauer, David (Chicago: University of Chicago Press, 1990).Google Scholar
Robin, William, “His Music, Entwined with His Faith: At Heart of Arvo Pärt’s Work, Eastern Orthodox Christianity,” The New York Times, 16 May 2014.Google Scholar
Robinson, Thomas, “Analyzing Pärt,” in The Cambridge Companion to Arvo Pärt, ed. Shenton, Andrew, New York: Cambridge University Press, 2012, pp. 76110.CrossRefGoogle Scholar
Rockefeller Brothers Fund, The Performing Arts: Problems and Prospects. Rockefeller Panel Report on the Future of Theater, Dance and Music in America (New York: McGraw-Hill, 1965).Google Scholar
Ross, Alex, “Consolations,” The New Yorker, 2 December 2002.Google Scholar
Ross, Alex, “Heart To Heart: Musical Events,” The New Yorker, 14 November 2011.Google Scholar
Ross, Johnson A., and Eugene Parta, R. (eds.), Cold War Broadcasting: Impact on the Soviet Union and Eastern Europe: A Collection of Studies and Documents, Budapest: Central European University Press, 2010.Google Scholar
Roth, Andrew, “Prison for 5 in Murder of Journalist,” The New York Times, 9 June 2014.Google Scholar
Rothstein, Edward, “Lincoln Center Programming: Rough Terrain,” The New York Times, 3 December 1992.Google Scholar
Sachs, Harvey, “Some Concerts, Some Observations, and a ‘Crisis’,” The Hudson Review 67.1 (Spring 2014), 104110, 176.Google Scholar
Sadek, Walid, “Third Text: Critical Perspectives on Contemporary Art and Culture,” Third Text, July, 2012.Google Scholar
Said, Edward, “Music at the Limits (New York: Columbia University Press, 2008).Google Scholar
Sandner, Wolfgang, Liner notes Arvo Pärt: Tabula Rasa, Various artists, CD, ECM 1275, 1984.Google Scholar
Sandner, Wolfgang, Liner notes to In Principio, Estonian National Symphony Orchestra, Estonian Philharmonic Chamber Choir, and Tallinn Chamber Orchestra, CD, ECM New Series 2050, 2009.Google Scholar
Saslaw, Janna, “Forces, Containers, and Paths: The Role of Body-Derived Image Schemas in the Conceptualization of Music,” Journal of Music Theory 40/2 (1996), 217243.CrossRefGoogle Scholar
Scherzinger, Martin, “The ‘New Poetics’ of Musical Influence: A Response to Kevin Korsyn,” Music Analysis 13/2–3 (1994), 298309.CrossRefGoogle Scholar
Schmelz, Peter, Such Freedom, If Only Musical: Unofficial Soviet Music during the Thaw (Oxford: Oxford University Press, 2009).CrossRefGoogle Scholar
Schwarz, Boris, Music and Musical Life in Soviet Russia: 1917–81 (Bloomington, IN: Indiana University Press, 1983).Google Scholar
Schweitzer, Vivien, “Sounds of Darkness and Ancient Jealousy: [Arts and Leisure Desk],” The New York Times, 8 September 2013.Google Scholar
Schweitzer, Vivien, “Voices Raised to Echo Higher Worlds,” The New York Times, 9 November 2010.Google Scholar
Schwirtz, Michael, “Leading Russian Rights Lawyer is Shot to Death in Moscow, along with Journalist,” The New York Times, 19 January 2009.Google Scholar
Scott, Allen J., Social Economy of the Metropolis: Cognitive-cultural Capitalism and the Global Resurgence of Cities (Oxford: Oxford University Press, 2008).CrossRefGoogle Scholar
Scruton, Roger, The Aesthetics of Music (New York: Oxford University Press, 1997).Google Scholar
Seligman, Adam B., Weller, Robert P., Puett, Michael J., and Simon, Bennett (eds)., Ritual and its Consequences: An Essay on the Limits of Sincerity (Oxford: Oxford University Press, 2008).CrossRefGoogle Scholar
Shelley, Peter, “Rethinking Minimalism: At the Intersection of Music Theory and Art Criticism,” PhD thesis, University of Washington, 2013.Google Scholar
Shenton, Andrew, “Arvo Pärt: In His Own Words,” in The Cambridge Companion to Arvo Pärt, ed. Shenton, Andrew, Cambridge: Cambridge University Press, 2012, pp. 111127.CrossRefGoogle Scholar
Shenton, Andrew, “For Whom the Bells Toll: Arvo Pärt’s **Passio**, Metamodernism and the Appealing Promise of Tintinnabulation,” in Contemporary Music and Spirituality, ed. Sholl, Robert and van Maas, Sander, Farnham: Ashgate, 2017.Google Scholar
Shenton, Andrew, “Introduction,” in The Cambridge Companion to Arvo Pärt, ed. Shenton, Andrew, Cambridge: Cambridge University Press, 2012, pp. 19.CrossRefGoogle Scholar
Sholl, Robert, “Arvo Pärt and spirituality,” in The Cambridge Companion to Arvo Pärt, ed. Shenton, Andrew, New York: Cambridge University Press, 2012, pp. 140158.CrossRefGoogle Scholar
Sholl, Robert, “Stop it, I like It! Listening for Traumatic Pleasure,” in Thresholds of Listening, ed. van Maas, Sander, New York: Fordham University Press, 2015, pp. 153174.CrossRefGoogle Scholar
Sōgen Hori, G. Victor, “Translating the Zen Phrase Book,” Bulletin of the Nanzin Institute for Religion and Culture 23 (Spring 1999), 4458.Google Scholar
Sirén, Vesa, “Estonian Composer Arvo Pärt Lavishes Praise on Jailed Russian Businessman,” Helsingin Sanomat, 16 April 2009.Google Scholar
Skipp, Benjamin, “Out of Place in the 20th Century: Thoughts on Arvo Pärt’s Tintinnabuli Style,” Tempo 63/249 (July 2009), 211.CrossRefGoogle Scholar
Slawson, John, “Lincoln Center’s White Light Festival,” American Record Guide (March/April 2014), 15.Google Scholar
Smith, Geoff, “An Interview with Arvo Pärt: Sources of Invention,” The Musical Times 14/1868 (Autumn 1999), 1925.CrossRefGoogle Scholar
Smith, Steve, “A Collaboration Embraces the Sacred and the Saxophone,” The New York Times, 15 November 2010.Google Scholar
Smith, Steve, “Estonian Master, Through Lens of Compatriots,” The New York Times, 12 November 2013.Google Scholar
Smith, Steve, “Fluid Voice with a Fluid Persona Firmly Attached,” The New York Times, 1 November 2010.Google Scholar
Smith, Steve, “Matters of the Spirit in a World of Hectic Clamor,” The New York Times, 24 October 2010.Google Scholar
Smith, Steve, “Miracles of Light Mix Audio and Visual,” The New York Times, 9 November 2010.Google Scholar
Smith, Steve, “Muslim Troupe Arrives with Splash and Age-Old Ecumenical Traditions [Review],” The New York Times, 24 November 2010.Google Scholar
Smith, Steve, “To Boldly Go Beyond the Limits of Sacred Music,” The New York Times, 17 November 2010.Google Scholar
Smith, Steve, “Touch of Croatia in Judith’s Story,” The New York Times, 5 November 2010.Google Scholar
Solomon R. Guggenheim Museum, Composer Arvo Pärt and Architects Snøhetta Collaborate for Guggenheim Exhibition in Lower Manhattan (New York: Solomon R. Guggenheim Museum Press Office, 2011).Google Scholar
Solovieva, Daria, “Politkovskaya’s Death, Other Killings, Raise Questions about Russian Democracy,” World Politics Review, 31 October 2006.Google Scholar
Sontag, Susan, “The Aesthetics of Silence,” in A Susan Sontag Reader, New York: Farrar Straus and Giroux, 1982, pp. 334.Google Scholar
Stearns, David Patrick, “The Philadelphia Inquirer David Patrick Stearns Column,” McClatchy-Tribune Business News, 21 November 2010.Google Scholar
Stilwell, Robynn J., “Sound and Empathy: Subjectivity, Gender and the Cinematic Soundscape,” in Film Music: Critical Approaches, ed. Donnelly, K.J., New York: The Continuum International Publishing Group, Inc., 2001, pp. 167187.CrossRefGoogle Scholar
Straus, Joseph N., “Normalizing the Abnormal: Disability in Music and Music Theory,” Journal of the American Musicological Society 59/1 (2006), 113184.CrossRefGoogle Scholar
“Striking Notes Timely and Timeless: [Schedule],” The New York Times, 9 September 2012.Google Scholar
Sturken, Marita, Tourists of History: Memory, Kitsch, and Consumerism from Oklahoma City to Ground Zero (Durham: Duke University Press, 2007).Google Scholar
Swed, Mark, “A Mystic in La La Land: Arvo Pärt’s ‘Los Angeles’ Symphony (2009),” Los Angeles Times, 11 January 2009.Google Scholar
Swed, Mark, “Jane Moss, the Rolling Stone Behind Lincoln Center’s Innovative Directions,” Los Angeles Times, 24 April 2015.Google Scholar
Taruskin, Richard, “The Pastness of the Present and the Presence of the Past,” in Text and Act: Essays on Music and Performance, Oxford: Oxford University Press, 1995, pp. 90154.Google Scholar
Taruskin, Richard, “Sacred Entertainments,” in The Danger of Music and Other Anti-Utopian Essays, Berkeley: University of California Press, 2009, pp. 280300.Google Scholar
Taylor, Timothy D., The Sounds of Capitalism: Advertising, Music, and the Conquest of Culture (Chicago: Chicago University Press, 2012).CrossRefGoogle Scholar
Tommasini, Anthony, “Aural Journey into the Spiritual [Arts and Leisure Desk],” The New York Times, 7 September 2014.Google Scholar
Tommasini, Anthony, “The Colors and Sounds of Scriabin: [Review],” The New York Times, 5 November 2011.Google Scholar
Tommasini, Anthony, “From Chorus and Winds, the Sound of Romantic Composers ‘Seeking the Light’,” The New York Times, 4 November 2010.Google Scholar
Tommasini, Anthony, “Improvising In Total Darkness,” The New York Times, 21 November 2013.Google Scholar
Tommasini, Anthony, “Mixing Spirituality with a Bit of Fun,” The New York Times, 13 November 2010.Google Scholar
Turner, Victor, “Liminality and Communitas,” in The Ritual Process: Structure and Anti- Structure, London: Routledge, 1969, pp. 94130.Google Scholar
Vaitmaa, Merike, “Tintinnabuli – eluholak, still ja tehnika,” Teater, Muusika, Kino 7 (1988), 3747.Google Scholar
Van Gennep, Arnold, The Rites of Passage (Chicago: University of Chicago Press, 1960).Google Scholar
van Maas, Sander, The Reinvention of Religious Music: Olivier Messiaen and the Breakthrough towards the Beyond (New York: Fordham University Press, 2009).CrossRefGoogle Scholar
van Maas, Sander (ed.), Thresholds of Listening: Sound, Technics, Space (New York: Fordham University Press, 2015).CrossRefGoogle Scholar
van Maas, Sander and Sholl, Robert (eds.), Contemporary Music and Spirituality (Farnham, Surrey: Ashgate Publishing Limited, 2017).Google Scholar
van ’t Klooster, Adinda Rosa, “Balancing Art and Technology: The Aesthetic Experience in Body and Technology Mediated Artworks,” PhD diss., University of Sunderland, 2011.Google Scholar
Virno, Paolo, A Grammar of the Multitude (Los Angeles and New York: Semiotest(e), 2004).Google Scholar
Voegelin, Salomé, Sonic Possible Worlds: Hearing the Continuum of Sound (New York, London, New Delhi, Sydney: Bloomsbury Academic, 2014).Google Scholar
Von Bönisch, Georg, “Das böse Genie,” Der Spiegel, 22 November 2010.Google Scholar
Wakin, Daniel J., “Lincoln Center Fall Festival to Focus on the Spiritual,” The New York Times, 13 May 2010.Google Scholar
Wakin, Daniel J., “White Light: Is It Driven by the Soul or by Sales?: [The Arts/Cultural Desk],” The New York Times, 23 November 2010.Google Scholar
Waleson, Heidi, “The White Light Spectrum,” The Wall Street Journal, 29 November 2010.Google Scholar
Walker, Susan, “In the Palm of Her Hands,” Toronto Star, 12 April 2007.Google Scholar
Wallace, Robin, Beethoven’s Critics: Aesthetic Dilemmas and Resolutions during the Composer’s Lifetime (Cambridge: Cambridge University Press, 1986).Google Scholar
Watkins, , Holly, Metaphors of Depth in German Musical Thought from E.T.A. Hoffmann to Arnold Schoenberg (Cambridge: Cambridge University Press, 2011).CrossRefGoogle Scholar
Willis, Louis-Paul, “From Jocasta to Lolita,” International Journal of Žižek Studies 6/2 (2012), 123.Google Scholar
Wills, David, Prosthesis (Stanford: Stanford University Press, 1995).CrossRefGoogle Scholar
Wingfield-Hayes, Rupert, “Russian Activist Found Murdered,” BBC News, 15 July 2009.Google Scholar
Winnicott, D.W., Playing and Reality (New York: Routledge, 2005).Google Scholar
Wolkstein, Diane, “The White Light Festival,” Parabola: Where Spiritual Traditions Meet 36/2 (2011), 102–04.Google Scholar
Woolfe, Zachary, “A Second Bout of ‘Passion,’ Rawer,” The New York Times, 1 March 2014.Google Scholar
Woolfe, Zachary, “Baltic and Scandinavian Threads Are Woven into an American Debut,” The New York Times, 20 November 2012.Google Scholar
Woolfe, Zachary, “Classical Music, The Listings: [Schedules],” The New York Times, 8 November 2013.Google Scholar
Woolfe, Zachary, “Festival Rests on Requiem,” The New York Times, 25 August 2014.Google Scholar
Woolfe, Zachary, “Unsettling, But Moving to the Soul,” The New York Times, 23 October 2012.Google Scholar
Wörner, Karl H., Stockhausen: Life and Work (Berkeley: University of California Press, 1976).Google Scholar
Zbikowski, Lawrence M., “Conceptual Models and Cross-Domain Mapping: New Perspectives on Theories of Music and Hierarchy,” Journal of Music Theory 41/2 (1997), 193225.CrossRefGoogle Scholar
Zbikowski, Lawrence M., Conceptualizing Music: Cognitive Structure, Theory, and Analysis (New York: Oxford University Press, 2002).CrossRefGoogle Scholar
Zbikowski, Lawrence M., “Der Herzraums Abschied: Mark Johnson’s Theory of Embodied Knowledge and Music Theory,” Theory and Practice 22–23 (1997), 116.Google Scholar
Žižek, Slavoj, “Deleuze and the Lacanian Real.” www.lacan.com/zizrealac.htm.Google Scholar
Žižek, Slavoj (ed.), Everything You Always Wanted to Know about Lacan: But Were Afraid to Ask Hitchcock (London: Verso, 2010).Google Scholar
Žižek, Slavoj, The Fright of Real Tears: Krzysztof Kieślowski between Theory and Post-Theory (London: BFI publishing, 2001).Google Scholar
Žižek, Slavoj, “Hegel’s Logic as Theory of Ideology,” The Sinthome 15 (November 2014). www.lacan.com/symptom15/?p=353.Google Scholar
Žižek, Slavoj, The Metastases of Enjoyment: On Women and Causality (London: Verso, 2005).Google Scholar

Save book to Kindle

To save this book to your Kindle, first ensure [email protected] is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

  • Select Bibliography
  • Edited by Laura Dolp, Montclair State University, New Jersey
  • Book: Arvo Pärt's White Light
  • Online publication: 05 July 2017
  • Chapter DOI: https://doi.org/10.1017/9781316863459.010
Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

  • Select Bibliography
  • Edited by Laura Dolp, Montclair State University, New Jersey
  • Book: Arvo Pärt's White Light
  • Online publication: 05 July 2017
  • Chapter DOI: https://doi.org/10.1017/9781316863459.010
Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

  • Select Bibliography
  • Edited by Laura Dolp, Montclair State University, New Jersey
  • Book: Arvo Pärt's White Light
  • Online publication: 05 July 2017
  • Chapter DOI: https://doi.org/10.1017/9781316863459.010
Available formats
×