The postlude situates tintinnabulation in the narrative of metamodernism (a term that has become a viable substitute for the more clumsy “post-postmodernism”). The framework for this is based on the definitions of the term by Timotheus Vermeulen and Robin van den Akker, who situate metamodernism “epistemologically with (post) modernism, ontologically between (post) modernism, and historically beyond (post) modernism.” I suggest that the key to understanding Pärt’s music lies in four principle areas: first, in people’s affinity for his music; second, in the relinquishing of terms such as “holy,” “spiritual,” and possibly even “religious” to describe his music and using instead the term “numinous;” third, through the vernacular meanings that might be ascribed to this music; and fourth, in the ideas of mentalese and anagogy, that help us to understand the effect of this music.