In conclusion, this thesis has been the start of a journey into understanding not only the working process of Arvo Pärt but also the intricate train of thought that underpins some of his most compelling works. Not only the musical construction but the idea of giving certain roles to notes, creating almost a literary journey has been an inspiring creative process. Delving into Pärt's as well as Górecki and Tavener's process revealed how the deliberate use of silence is as pivotal as the sounds themselves, inviting a re-evaluation of the traditional focus on active playing. The limited material that they have used in their compositions taught me the value of having even a small phrase or a theme which has the potential to be expanded in the most detailed way and serve as a structure.
With my supportive readings and contemplations of certain topics, I have come to appreciate how philosophy, diverse conceptual frameworks, and even seemingly unrelated elements—such as the aesthetics of garden design or in Pärt's case, peeling potatoes—can serve as vital sources of inspiration and contribute an additional, eighth dimension to the conventional seven components of musical composition. The value of having thoughts outside of music before starting to compose or improvise, which in its own right is a different but similar process of composition, has been an essential part of my thinking process, which I will be carying with me after this research.
One other crucial outcome of this thesis is that this exploration underscored the value of structure and limitations, as well as the innovative potential of reusing and reshaping existing materials through various means. By immersing myself deeply in the analysis of the selected works and meditating on the philosophies discussed, I discovered the importance of integrating these insights into my own creative practice. Embracing an approach that prioritizes intuition within well structured frameworks, I learned to build an underlying skeleton that supports both improvisation and experimentation, effectively blending additive and reductive methods to enrich my compositions.
Inspired by twentieth-century composers such as Pärt and motivated by an initial investigation into a broad spectrum of ideas from that era, I have uncovered multiple methodologies that not only illuminate the thought processes of these composers but also promise to inform my future explorations into other compositional styles. Through studying the selected composers and their works, from Pärt to Feldman and Górecki, I have uncovered elements that have become part of my own approach, not to mimic them in a perfect way but to create with similar inspirations. I believe this practice of studying certain composers that move me in a similar way can evoke unique blends of creating new textures, approaches and sounds in the improvisation world.
Ultimately, this research has woven together my diverse interests—ranging from aesthetics and philosophy to a deep love for serene, introspective moments—revealing unexpected connections that have expanded my understanding of how spirituality and contemplation can be seamlessly integrated into both composition and improvisation. I have discovered my artistic goal is not to impress through technical but to form a connection with the listener, hoping that they leave a concert with something to think on, making them feel the way that I felt discovering certain qualities in the music and philosophies that have been discussed in this research.
I hope this thesis may shine some light on these darkened corners of inspiration that, in my experience, are not being discussed enough or even at all in academia. I believe the value of thinking processes and developing the ideas behind composition and improvisation with inspirations from aesthetic philosophies, such as silence and space, is equally important as developing technical matters. When it comes to working with improvisers and composition frameworks for them, creating these canvases and filling them up with textures, gaps and combinations, besides only focusing on what to play, one must have different inspirations to create a unique approach. I have found that spark and inspiration through this research.
