“神圣简约主义”是20世纪末叶早期音乐运动的衍生物,并且从它与东欧音乐独特的关联中获取推动力。笔者以派尔特的《空白》、坎切利的《时间……又一次》以及瓦斯克斯的《第四弦乐四重奏》三部器乐作品为例,对同一题材的不同音响结构分别进行感性识别与案头分析,并对其音响核心结构力给出相应表述,由此试图寻找“神圣”意涵在这些作品中的显现途径,并在此基础上对这一风格表述中的“神圣”和“简约”的概念做出个性解读,对这一风格进行价值定位。 “Sacred Minimalism” is a derivative of the early musical movements of the late twentieth century and derives its impetus from its unique association with Eastern European music. The author takes Pelt’s “blank”, Canchee’s “time ... again” and Vasquez’s “fourth string quartet” three instrumental works as an example, respectively, on the same theme of different sound structure, respectively, emotional Identification and desk analysis, and gives the corresponding expression of its audio core structure, thus trying to find the way of “divine” expression in these works, and on this basis, this style of expression “ Sacred ”and“ simple ”concept to make a personality interpretation, the value of this style positioning.