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The purpose of this study is to illustrate the variety of cultural, social, and religious influences on the tintinnabuli composition style of Estonian Arvo Part. In particular, the acoustical properties of Russian bells and their inspiration for a unique compositional style are reviewed in depth. The niche held by Russian bells in the Russian Orthodox Church, along with the melodic formulae specific to Orthodox chant are also addressed as a potential field of analytical comparison. Part’s claim of connections to sacred music and early music necessitated a review of chant repertoire of both eastern and western Christianity in the evolution of tintinnabuli. Detailed organ registration and performance suggestions are provided, with adequate basics of registration for non-organists. Limitations to the study are identified, and ideas for future scholarship are suggested. Conclusions regarding the ecclesiastical relationships of bells, icons, and chant in the Russian Orthodox Church, as well as ancient and modern structural devices generated by the composer are supported by extensive citations from interviews, critical reviews, and performers’ commentary. Complete music analyses of the four tintinnabuli organ works to date are provided, with figures and examples, using the emerging terminology and methodology of Part’s collaborator and biographer, Paul Hillier. Suggestions for improvement and an update of Hillier’s methods are made, and broad explorations of Part’s approach to nonfunctional tonality are pursued. This includes comparisons to his contemporaries in art music and in American minimalism. Geographical and chronological differentiations between Arvo Part and the American minimalists are made, drawing clearer aesthetic contexts than in previous studies. The myth that “holy minimalism” by Part and others evolved from or fulfilled a type of evolution of American minimalism is put to rest from the standpoint of modern “multiple discoveries.”.