«Tintinnabulation is an area I sometimes wander into when I am searching for answers – in my life, my music, my work. In my dark hours, I have the certain feeling that everything outside this one thing has no meaning. The complex and many-faceted only confuses me, and I must search for unity. What is it, this one thing, and how do I find my way to it? Traces of this perfect thing appear in many guises – and everything that is unimportant falls away. Tintinnabulation is like this. (…) The three notes of a triad are like bells. And that is why I call it tintinnabulation.»
«I could compare my music to white light which contains all colours. Only a prism can divide the colours and make them appear; this prism could be the spirit of the listener.»
– from the essay White Light by Hermann Conen, as translated into English by Eileen Walliser-Schwarzbart (found in the liner notes of the ECM release of Alina).
«Tintinnabuli is the rule where the melody and the accompaniment [voice] (…) is one. One plus one, it is one – it is not two. This is the secret of this technique.»
– from a conversation between Arvo Pärt and Antony Pitts recorded for BBC Radio 3 at the Royal Academy of Music in London on 29 March 2000, as printed in the liner notes of the Naxos Records release of Passio.