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Meskipun ketika Pärt lahir, Estonia adalah sebuah negara yang merdeka, Uni Soviet mendudukinya pada [[1940]] sebagai akibat dari [[Perjanjian Molotov-Ribbentrop]] Soviet-[[Nazi]], dan negara itu tetap berada dalam kekuasaan Soviet (kecuali untuk periode 3 tahun di bawah pendudukan [[Jerman]]), selama 51 tahun berikutnya.
<!-Karya-karya Pärt's oeuvrebiasanya isdibagi generallymenjadi divideddua into two periodsperiode. His early worksKomposisi rangeawalnya frommerentang ratherdari severegaya [[NeoclassicismNeo-klasisisme (musicmusik)|neo-classicalklasik]] stylesyang influenceddipengaruhi byoleh [[Dmitri Shostakovich|Shostakovich]], [[Sergei Prokofiev|Prokofiev]] anddan [[Béla Bartók|Bartók]]. HeKemudian thenia beganmulai tomembuat composekomposisi usingdengan menggunakan [[Arnoldteknik Schoenberg|Schoenberg's12 nada]] [[twelve-toneArnold techniqueSchoenberg|Schoenberg]] anddan [[serialismserialisme]]. ThisNamun, however,hal ini nottidak onlyhanya earnedmengundang thekemarahan iredari ofpihak thepenguasa Soviet establishment, buttetapi alsojuga provedterbukti tosebagai bejalan abuntu creativebagi dead endkreativitasnya. Penulis biografi Pärt's biographer, [[Paul Hillier]], saysberkata:
:"... ia telah tiba pada keputusasaan penuh di mana komposisi musik tampak menjadi upaya yang paling sia-sia. Ia kehilangan keyakinan musiknya serta semangatnya untuk menuliskan bahkan satu not saja."
:"... he had reached a position of complete despair in which the composition of music appeared to be the most futile of gestures, and he lacked the musical faith and will-power to write even a single note"
ThisMungkin mayini bepernyataan anyang overstatementberlebih-lebihan sincekarena thesimfoni transitionalketiga third symphonyperalihannya (1971) wasdikarang composedpada duringmasa this timeini. HoweverNamun, itjelas is clear thatbahwa Pärt experiencedmengalami akrisis deeppribadi personalyang crisismendalam. HisTanggapannya responsepada tokemacetan thisini impasseadalah wasmenenggelamkan todirinya immersedalam himselfmusik in early musickuno — to go, in effect,dan backia topraktis thekembali rootske ofakar-akar westernmusik musicbarat. He<!--Ia studiedmempelajari [[plainsong]], [[Gregorian chant]], and the emergence of [[polyphony]] in the [[Renaissance]]. At the same time he began to explore [[religion]] and joined the [[Russian Orthodox Church]], perhaps indicating that his crisis was partly spiritual in nature, rather than exclusively musical.
The music that began to emerge after this period was radically different. Pärt describes it as [[tintinnabuli]] - like the ringing of bells. The music is characterised by simple [[harmony|harmonies]], often single unadorned notes, or [[Chord (music)|triad chords]] which form the basis of western harmony. These are reminiscent of ringing bells, hence the name. Tintinnabuli works are rhythmically simple, and do not change tempo. The influence of early music is clear. Another characteristic of Pärt's later works is that they are frequently settings for sacred texts, although he mostly chooses [[Latin]] or the [[Church Slavonic language]] used in Orthodox liturgy instead of his native [[Estonian language]].
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