The music that began to emerge after this period was radically different. This period of new compositions included the 1977 works "Fratres", "Cantus in Memoriam Benjamin Britten" and "Tabula Rasa". Pärt describes the music of this period as "tintinnabuli"—like the ringing of bells. "Spiegel im Spiegel" (1978) is a well-known example that has been used in many films. The music is characterised by simple harmonies, often single unadorned notes, or triads, which form the basis of Western harmony. These are reminiscent of ringing bells. Tintinnabuli works are rhythmically simple and do not change tempo. 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. Large-scale works inspired by religious texts include "Berliner Messe", "St. John Passion" and "Te Deum"; the author of the famous text of "Litany" is the 4th-century theologian John Chrysostom. Choral works from this period include "Magnificat" and "The Beatitudes".