The article is devoted to the peculiarities of  the  author’s  tintinnabuli  technique  of  the  modern Estonian composer Arvo Pärt, which is considered on the example  of  the  composition  “Tabula  rasa”.  The  authors draw  attention  to  the  title  of  the  work,  emphasizing  its metaphorical  meaning.  The  article  also  discusses  the theoretical  aspects  of  the  tintinnabuli  technique  based on the research of foreign scientists. In addition to the accepted  terms  Hauptstimme  and  Tintinnabuli-Stimme, the  author  introduces  the  theoretical  concept  “HauptTema”,  which  complements  the  analytical  terminological apparatus. The genesis of the tintinnabuli Pärta technique, which grows out of the traditions of bell ringing associated with  church  rituals,  is  noted.  The  structural  features  of the “Tabula rasa” are analyzed in detail, which are clearly confirmed in the table, as well as the implementation of the compositional principles of the Tintinabuli technique in each of the two parts. The importance of the timbre and dynamic components of the orchestral score is emphasized.