Por uma sociologia da produção e reprodução musical do presbiterianismo brasileiro: a tendência gospel e sua influência no culto

O culto presbiteriano brasileiro se cristalizou de forma peculiar em relação ao seu estilo litúrgico. A exclusão de elementos mais ritualísticos somados ás condições de inserção deram um contorno bem específico a esse culto no Brasil. A sua forma pode ser reduzida a dois pilares de sustentação: a prédica e a música. A música também se desenvolveu de um modo peculiar dentro da denominação. Porém, desde início dos anos 90 essa musica tradicional tem sido abalada com a consolidação do mercado de música gospel. Surgiu então no Brasil um novo tipo de produção musical, relacionada com o louvor congregacional, que pelo aspecto emocional e performático, contraria a produção tradicional. Esse novo modelo de louvor, fomentado pela mídia especializada, pelo mercado gospel e em acordo com as tendências culturais atuais, tem plena aceitação do público jovem e dos novos conversos, dificultando a manutenção da tradição. Muitos são os motivos para tal fato, entre eles a atração que o mercado exerce sobre o jovem presbiteriano e o papel litúrgico da música nesse culto, que sempre gerou um grande clima de insatisfação religiosa de alguns sub grupos do laicato. Assim, a produção e reprodução musical do culto presbiteriano têm sofrido modificações que podem contribuir diretamente para uma das maiores mutações cúlticas que o presbiterianismo já sofreu desde a sua inserção entre nós. Esse novo modelo de louvor propiciou uma ruptura com a hinódia tradicional, que há muito já estava se enfraquecendo. Esta tese discute as mudanças ocorridas na produção e reprodução da música litúrgica do presbiterianismo e a sua conseqüência direta no perfil desse culto, bem como os motivos que sustentam tais mudanças, tanto em uma perspectiva micro como macro social.(AU)

A CAPOEIRA DE BRAÇOS PARA O AR Um Estudo da Capoeira Gospel no ABC Paulista

Esta pesquisa estuda o processo de mudança corrente na capoeira gerada pela capoeira gospel no ABC paulista e suas regiões periféricas. Discute o viés pelo qual os evangélicos a utilizam como ferramenta de evangelização e como assimilam as suas técnicas corporais, enquanto ramificação da cultura afro-brasileira. A pesquisa de campo foi realizada por meio de entrevistas semi-estruturadas com pastores evangélicos, mestres de capoeira pastores e adeptos da capoeira em igrejas pentecostais, neopentecostais e em academias seculares da região. O movimento da capoeira gospel é um fenômeno recente e em crescimento. Com princípios baseados na Bíblia, desestruturam os alicerces da capoeira secular que tem sua base nas tradições culturais de origem africana, que funde mitos, ritos e esporte.(AU)

AS FEIAS (E OS FEIOS) QUE ME DESCULPEM, MAS BELEZA É FUNDAMENTAL : O USO CONTEMPORÂNEO DA IMAGEM E SUA INFLUÊNCIA NA MUDANÇA DOS PARADIGMAS ESTÉTICOS UTILIZADOS NA MÚSICA GOSPEL NO BRASIL

Este trabalho analisa sociologicamente na contemporaneidade o campo imagético na música gospel e de que forma, este influencia na mudança dos paradigmas imagético - estéticos utilizados pelas produtoras fonográficas em seu marketing religioso para a comercialização da música gospel no mercado da música evangélica brasileira, proporcionando neste modelo atual um crescimento qualitativo e quantitativo dos produtos destinados ao público evangélico. A pesquisa identifica nas produções visuais de divulgação e comercialização de CDs, DVDs, sites das produtoras fonográficas, feiras e premiações musicais, os mecanismos utilizados para a construção de um novo paradigma imagético que proporciona no campo religioso, o surgimento de um novo imaginário evangélico mimeticamente construído para alimentar um mercado gospel fomentado pela tríade social: espetáculo, consumo e entretenimento. Desta forma, a analise tem o seu recorte nas mudanças paradigmáticas que surgem a partir dos primeiros cantores e cantoras da década de 1950 até culminar na explosão da música gospel no início da década de 1990.(AU)

Magic City Gospel

Magic City Gospel is a collection of poems that explores themes of race and identity with a special focus on racism in the American South. Many of the poems deal directly with the author’s upbringing in Birmingham, Alabama, the Magic City, and the ways in which the history of that geographical place informs the present. Magic City Gospel confronts race and identity through pop culture, history, and the author’s personal experiences as a black, Alabama-born woman. Magic City Gospel is, in part, influenced by the biting, but softly rendered truth and historical commentary of Lucille Clifton, the laid-back and inventive poetry of Terrance Hayes, the biting and unapologetically feminist poetry of Audre Lorde, and the syncopated, exact, musical poetry of Kevin Young. These and other authors like Tim Siebles, Gwendolyn Brooks, and Major Jackson influence poems as they approach the complicated racial and national identity of the author.

Um olhar sobre a música gospel: a lógica simbólica e de mercado do Ministério de Louvor Diante do Trono

This study aims to understand how the gospel music genre - based on the gospel band Ministério de Louvor Diante do Trono - articulates itself to the logic of the market by its insertion in the music industry and use of symbolic logic in the available songs of their Cds and DVDs. Our research is a case study, methodologically being the descriptive analysis of the production process, distribution and broadcasting of the band's CDs and functional analysis of the music that permeates the entire thesis. The following songs are presented as an analytical corpus: Preciso de Ti,Quero me Apaixonar, Tua Visão, Creio, Tu Reinas e Tetelestai. Our hypothesis is that religious institutions - as a field responsible for the structure which maintains gospel artists - experiences a new dynamic that consists of a superficial modernity, ratified in the ways the symbolic goods produced communicate, that is, simulate a religious modernity maintaining traditional values regarding the dogmas of religion , but incorporate business and advertising procedures in the dissemination of its products The results point to gospel music as mediation, part of the religious ritual sometimes as prayer and other as preaching, stimulating consumption and entertainment, and performing as a device in the making of symbolic goods.

CANTAR PARA QUÊ? A música gospel no processo de midiatização: o caso do programa Esquenta!

Esta pesquisa tem por objetivo analisar sob quais aspectos se dá a interação entre mídia e religião, bem como as tensões ou continuidades que a aproximação do ‘sagrado’ com o ‘profano’ na sociedade midiatizada evoca. Para tal, elegemos como objeto de estudo a participação dos artistas evangélicos no Programa Esquenta!, exibido nas tardes de domingo, pela Rede Globo. Tomamos como referencial teórico os conceitos de cultura gospel, de midiatização, especialmente o conceito de bios midiático, e a discussão sobre secularização proposta por Habermas. A metodologia empregada prevê duas etapas. A primeira consiste numa uma análise de conteúdo de cinco edições do programa que contaram com a participação de artistas evangélicos, exibidas nos anos de 2013 e 2014. Nesse momento, o objetivo foi perceber o lugar que a música gospel ocupa dentro da proposta do programa. A segunda etapa consiste na realização de dois grupos de discussão, um formado por evangélicos e o outro por não-evangélicos, para compreender como os conteúdos religiosos deslocados de seu contexto original são ressignificados pela audiência. Resulta desta pesquisa a observação de que a participação dos artistas gospel no Esquenta! oferece novos modos de olhar que ampliam o conceito de cultura gospel, bem como legitima a mídia como lugar de experiência religiosa. Além disso, ilustra a perspectiva habermasiana ao refletir a dupla afetação entre universo religioso e vida secular, que emerge do entrecruzamento entre mídia e religião.

GOSPEL SINGING IN THE VALLEY: AN INVESTIGATION INTO THE HYMNODY AND CHORAL SINGING OF THE LISU ON THE CHINA-BURMA/MYANMAR BORDER

This dissertation is an ethnomusicological study of contemporary musical practices of the Christian Lisu in Nujiang Prefecture in northwest Yunnan on the China-Myanmar border. Among all the changes that the Nujiang Lisu have experienced since the twentieth century, the spread of Protestant Christianity throughout Nujiang’s mountainous villages has existed for the longest time and had one of the greatest effects. Combining historical investigation and ethnographic description, this study uses the lens of music to examine the impact of this social change on the Lisu living in this impoverished frontier region. The Lisu characteristics have never been vital in the music written by the Christian Lisu in Nujiang. Compared with the practices described in other ethnomusicological writings on Christian music around the world that I have read, this absence of incorporation of indigenous musical elements is unusual. There are probably many other cases similar to that of the Lisu, but few ethnomusicologists have paid attention to them. I aim to elucidate this particular scenario of Lisu Christian music in relation to three social and cultural forces: the missionary legacy of conventions; the government’s identification of the Lisu as a minority nationality and its national policies toward them since the 1950s; and the transnational religious exchange between the Christian Lisu in China and Myanmar since the late 1980s. My examination focuses on two genres which the Lisu use to express their Christian beliefs today: ddoqmuq mutgguat, derived from American northern urban gospel songs, the basis of the Lisu choral singing; and mutgguat ssat, influenced by the Christian pop of the Burmese Lisu, with instrumental accompaniment and daibbit dance and preferred by the young people. Besides studying these two genres in the religious context, I also juxtapose them with other musical traditions in the overall Nujiang music soundscape and look at their role in local social interactions such as those between sacred and secular, and majority and minority. This dissertation demonstrates that the collective performances of shared repertoires have not only created a sense of affinity for the Nujiang Christian Lisu but also have reinforced the formation of Lisu transnational religious networks.

Popular Singing: a practical guide to Pop, Rock, Blues, Jazz, Country and Gospel.

Donna Soto-Morettini is one of the top performance coaches in the industry and has worked as casting director and performance coach for the hit BBC reality casting shows, I'd Do Anything, Any Dream Will Do, and How Do You Solve a Problem Like Maria. She was the founding senior vocal coach at Paul McCartney's Liverpool Institute for Performing Arts. Based on her years of teaching experience in a multitude of styles, this unique book is a practical guide to exploring the singing voice and will help to enhance vocal confidence in a range of styles including Pop, Jazz, Blues, Rock, Country and Gospel. Both singers and voice teachers will benefit from the clear analysis of these styles and advice on how to improve performance. Popular Singing provides effective alternatives to traditional voice training methods and demonstrates how these methods can be used to create a flexible and unique sound. A free CD of voice demonstrations is also included.

Horæ evangelicæ : or, the internal evidence of the Gospel history, being an inquiry into the structure and origin of the four Gospels, their historical consistency, and the characteristic design of each narrative /

Mode of access: Internet.

The Gospel treasury, and expository harmony of the four evangelists : in the words of the authorised version : having Scripture illustrations; expository notes form the most aproved commentators; practical reflections; geographical notices, copious index, etc. /

Includes index.

Gospel Music Training, Performance Practice and Its Impact on Leadership Development and Performed Nationalism in a Collegiate Military Choir

Since America’s beginnings as a British colony, its musical standards have adhered to those of Western Europe. For this reason, musical forms native to America like Black folk spirituals and Gospel music have historically been marginalized in favor of music in the Western classical tradition. Today, a bias towards music of the Western classical tradition exists in those American universities that grant music degrees. While this bias is understandable, inclusion of Gospel music history and performance practice would result in a more complete understanding of American music and its impact on American nationalism. The United States Naval Academy is one of the few American universities that have consistently elevated the performance of Gospel music to the level of Western Classical music within its institutional culture. The motivations for writing this document are to provide a brief history of Gospel music in the United States and of choral music at the Naval Academy. These historical accounts serve as lenses though which the intersection of Gospel music performance practice and leadership development at the United States Naval Academy may be observed. During the last two decades of the twentieth century, Gospel music intersected American military culture at the U.S. Naval Academy. After a few student-led attempts in the 1970s, a Gospel Choir was formed in 1986 but by 1990, it had become an official part of the Music Department. Ultimately, it received institutional support and today, the Gospel Choir is one of three touring choirs authorized to represent the Academy in an official capacity. This document discusses the promotion of Gospel music by the Naval Academy in its efforts to diversify Academy culture and ultimately, Naval and Marine Corps leadership. Finally, this dissertation examines the addition of performed cultural expression (Gospel music) in light of a shift in American nationalism and discusses its impact on Naval Academy culture.

The Gospel of Something or Other / Critical mass

This thesis is comprised of two components: a creative work of fiction and a critical analysis of the fiction through a discussion of craft and creative influence. The creative section, the novel The Gospel of Something or Other, is a formally experimental work that explores authenticity - of both narrative and voice - authorial identity, the performativity of grief and sincerity, and the aesthetic function of narratalogical failure. The critical section of the thesis, Critical Mass, analyses the work of David Foster Wallace and James Wood in relation to the aforementioned fiction, discussing aspects of craft most relevant to the novel: the function of comedy and the function of manipulation. The critical piece investigates the extent to which influence can be identified in the creative process and the unstable relationship between critical interpretation and authorial intent.

A shadow replaced by realities: the theme of temple in relation to Christology, Pneumatology and Ecclesiology in John's Gospel

This dissertation seeks to examine the role of the temple in relation to Christology, Pneumatology, and Ecclesiology in John’s Gospel. The Jerusalem temple, which was believed to be the shadow of the true temple in the heavens, was destroyed in A.D. 70. John, writing his Gospel after its destruction, presented the person of Jesus as the new cultic center of Judaism, in whom the more transcendent reality of the heavenly temple was truly embodied. The eschatological Spirit would animate the new worship inaugurated in the messianic temple, so that the believers could worship the Father in spirit and in truth. The living water of the Spirit was expected to flow from the heavenly temple, which is the glorified Jesus, throughout the earth via the mission of the ecclesial community – a community now constituted as the sacred temple. In this way, the Fourth Gospel presents Israel’s temple and its cult replaced by new realities: the temple of Jesus’ body and the temple of the church. The former is incarnated as the temple, while the latter is transformed into the temple by the indwelling power of the Holy Spirit.

Gospel according to Luke : in Nepalese.

Title in Nepalese at head of title.

The millennium; or, The coming of Christ to reign, in the spirit and power of his gospel.

Mode of access: Internet.