Thesis project (D. Min.)--Denver Seminary, 2005. / Includes bibliographical references (leaves 283-302).

Thesis (J.C.L.)--Catholic University of America, 2007. / Includes bibliographical references (leaves 71-75).

Thesis (J.C.L.)--Catholic University of America, 2007. / Includes bibliographical references (leaves 71-75).

Thesis (D. Min.)--New Orleans Baptist Theological Seminary, 2005. / Includes abstract and vita. Includes final project proposal. Includes bibliographical references (leaves 163-170, 90-95).

Thesis (D. Min..)--Catholic Theological Union at Chicago, 2008. / Abstract and vita. Includes bibliographical references (leaves 151-157).

Thesis (D. Min.)--New Orleans Baptist Theological Seminary, 2005. / Includes abstract and vita. Includes final project proposal. Includes bibliographical references (leaves 163-170, 90-95).

O objetivo desse trabalho é investigar a adaptação da organista com relação às modificações nos hinários oficiais da Igreja Congregação Cristã no Brasil, enfatizando as mudanças do Hinário 4 para o Hinário 5. Também foi averiguado qual o impacto das mudanças no estudo dos hinos novos e antigos (onde houve várias mudanças) e qual a repercussão das organistas com relação ao acréscimo do terceiro pentagrama no Hinário 5. O presente estudo foi delineado com base em dois questionários elaborados e enviados para as organistas da Igreja Congregação Cristã no Brasil (uma vez que apenas as mulheres tocam o órgão), tanto para as oficializadas com profunda experiência no Hinário 4, como para as organistas aprendizes que só tiveram contato com o Hinário 5. Ficou evidente que muitas organistas oficializadas ainda apresentam dificuldades em tocar os hinos alterados do hinário devido às diferenças entre mão esquerda e pedal. As aprendizes não reportaram ter problemas porque nunca estudaram com outro hinário. Como na Igreja Congregação Cristã no Brasil somente hinos são tocados durante o culto, foram elaborados exercícios para auxiliar na adaptação do novo hinário, já que em 194 dos 480 hinos, as notas mais graves da mão esquerda e do pedal são distintas durante alguns compassos. O material produzido poderá auxiliar principalmente as organistas oficializadas, tornando-se também, uma fonte de consulta sobre os tipos de hinos para toda a classe. / This work aims to investigate the adaptation of the organist of the Christian Congregation Church of Brazil in relation to the modifications in the new hymnal (No. 5), as well as the impact it has had on the way the organists study the new and old (and altered) hymns. The addition of the third staff has also been investigated. Two questionnaires, as a basis for the study, were sent to women organists (since only women are allowed to play the organ): a group of Official organists with a great deal of experience with Hymnal No. 4, and beginner organists (Apprentices), who had only studied Hymnal No. 5. The Official organists reported that many still present difficulties playing the altered hymns of the latest edition because of the differences between the left hand and pedal. The Apprentices admitted not having any problems since they never came in contact with other editions of the hymnal. Considering that the Christian Congregation Church of Brazil only allows hymns to be performed during services, exercises were elaborated to help them adapt to the new hymnal, since in 194 of the 480 hymns, the lower note of the left hand and the pedal are not the same for several measures. The material presented is intended to aid mainly the Official organists, however, it may be utilized by all organists as a source for the many different types of hymns.

This thesis investigates local-level environmental activism in faith communities, and aims to understand what explains environmental advocacy by Christian faith communities. It asks why Christian communities are participating in environmental advocacy, and identifies the motivations and practices behind their engagement. Faith-based organisations and faith communities are increasingly active in environmental advocacy, both through high-level interventions, and local-level action. While high-level engagement often attracts widespread attention, as in the case of the Pope’s 2015 environmentally-focused encyclical, the engagement of locally-grounded faith communities is often overlooked, both in academia and practice. This thesis aims to fill that void by exploring faith-based environmentalism from the perspective of the local faith community. It takes an ethnographic approach, based on twelve months of participant observation in three Christian congregations in Edinburgh engaged in environmental action. Building on earlier studies of religion and ecology and religious environmentalism, this thesis argues that environmental engagement is explained by theological motivations, and also by practical factors expressed and experienced in the social context of the local faith community. Theologically, faith communities base their environmental engagement within a broad framework of justice, understanding the natural environment as God’s creation, and aligning a Christian responsibility to ‘care for creation’ with recognition of the impacts of climate change and environmental degradation on those least equipped to respond. Yet theology alone cannot explain this advocacy. Engagement is motivated by a sense of community and, more pragmatically, is also explained by everyday issues that reflect the reality of life in a faith community. It is in the social context of the faith community that these factors are brought together. Above all, the research findings emphasise the importance of community, understood both as people and place, as a key underlying factor explaining engagement. By highlighting the central role of community in environmental advocacy, this thesis offers insight into religious environmentalism that prioritises the everyday, ‘lived’ experience of religion, and articulates the importance of the social context in which religion is practiced for understanding engagement.

Submitted by Morgana Silva (morgana_linhares@yahoo.com.br) on 2016-07-19T16:07:07Z No. of bitstreams: 1 arquivototal.pdf: 3174752 bytes, checksum: 88f111405b72edbce525df7192bf1b41 (MD5) / Made available in DSpace on 2016-07-19T16:07:07Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 3174752 bytes, checksum: 88f111405b72edbce525df7192bf1b41 (MD5) Previous issue date: 2016-03-07 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The Christian Congregation in Brazil is an Evangelical Pentecostal Church, founded in 1910, in São Paulo. Today it is present throughout Brazil and in other countries. There are several reasons why this church has a significant place in teaching and learning music, among which may be mentioned: a division of labor between men and women in the execution of hymns during services, the presence of a set curriculum for training musicians in the Church and the way in which the institution is committed to maintaining a music ministry. This study investigated the music education of the organists of the Christian Congregation in Brazil, using case study as a methodological approach. The interviews with the ten organists who participated in the survey were conducted according to the procedures of collection and analysis of data in comprehensive interviews (KAUFFMANN, 2013). Procedures of documentary research (SA-SILVA; ALMEIDA; GUINDANI, 2009) were also adopted to better understand the Constitution of the Christian Congregation and the teaching materials adopted in their music education. Based on Berger and Luckmann's (1983) ideas of daily life, of primary and secondary socialization, of institutionalization and of social role, this study had the general objective to understand the process of learning music of the organists of the Christian Congregation in Brazil in the city of Juazeiro do Norte, Ceará. The specific objectives were to become acquainted with the music education in the Christian Congregation in Brazil and the relationship it has with the music learning of the organists, as well as reflect on the social role of the organists in the Church and the influence this has on the music learning being studied. As a result of this study, it was noted that the music learning process of the organists can be described as familial, religious and institutional. Most of the organists interviewed start learning music at home; these musical experiences play a big part in their memories: their parents' demands regarding practice of the instrument and the times when the family would gather to play. The experience of learning music in the Church is interlaced with the religion professed by the organists, so that learning music is interpreted in terms of the Christian faith. Admission into the Church's music lessons through a vocational direction, the guidance of the instructors for a life "more dedicated to God" and coping with learning difficulties from the perspective of a "dependence on God" are examples of this learning method influenced by religion. In addition, the music learning of the organists is institutional in the sense of being directed by a "minimum program" stipulated by the Church, and the internalization of a social role that is well-defined by the group. These aspects of the organists' music education are interconnected and form a complex phenomenon, considering the social and subjective dynamics of this context. / A Congregação Cristã no Brasil é uma Igreja Evangélica Pentecostal, fundada em 1910, na cidade de São Paulo. Hoje ela está presente em todo Brasil e em outros países. Algumas razões fazem com que essa Igreja possua um significativo espaço de ensino e de aprendizagem de música, dentre as quais podem ser citadas: uma divisão de tarefas entre homens e mulheres na execução dos hinos durante os cultos, a presença de um currículo definido para formação dos músicos na Igreja e o modo como a instituição está comprometida na manutenção de um ministério de música. Nesse contexto, foi realizada uma pesquisa que investigou a aprendizagem de música das organistas da Congregação Cristã no Brasil, tendo o estudo de caso como abordagem metodológica. Foram utilizados procedimentos de coleta e de análise de dados da entrevista compreensiva (KAUFFMANN, 2013) nas entrevistas com as dez organistas participantes da pesquisa. Foram adotados também procedimentos da pesquisa documental (SÁ-SILVA; ALMEIDA; GUINDANI, 2009), para conhecer melhor o Estatuto da Congregação Cristã e os materiais didáticos por ela adotados no ensino de música. Com base nas ideias de cotidiano, socialização primária, socialização secundária, institucionalização e papel social, de Berger e Luckmann (1983), a pesquisa teve como objetivo geral compreender como se dá a aprendizagem de música das organistas da Congregação Cristã no Brasil na cidade de Juazeiro do Norte, Estado do Ceará. Os objetivos específicos foram conhecer o ensino de música na Congregação Cristã no Brasil e a relação que o mesmo tem com a aprendizagem de música das organistas, bem como refletir sobre o papel social exercido pelas organistas na Igreja e a influência desse papel sobre a aprendizagem de música em questão. Como resultados da investigação, notou-se que a aprendizagem de música das organistas pode ser descrita como familiar, religiosa e institucional. A maioria das organistas entrevistadas começa a aprender música em casa, fazendo parte da memória das organistas as experiências musicais vivenciadas nesse contexto, a cobrança dos pais no estudo do instrumento e as ocasiões em que a família se reunia para tocar. A aprendizagem de música na Igreja é vivenciada de modo entrelaçado com a religião que as organistas professam, de modo que o aprendizado de música é interpretado nos termos da fé cristã. O ingresso nas aulas de música da Igreja por uma direção vocacional, as orientações das instrutoras para uma vida “mais dedicada a Deus” e o enfrentamento das dificuldades de aprendizagem na perspectiva de uma “dependência de Deus” são exemplos dessa aprendizagem influenciada pela religião. Além disso, a aprendizagem de música das organistas é institucional no sentido de ser direcionada por um “programa mínimo” estipulado pela Igreja e na interiorização de um papel social bem definido pelo grupo. Esses aspectos da aprendizagem de música das organistas são encontrados interligados e formam um fenômeno complexo, considerando as dinâmicas sociais e subjetivas desse contexto.

O objetivo desse trabalho é investigar a adaptação da organista com relação às modificações nos hinários oficiais da Igreja Congregação Cristã no Brasil, enfatizando as mudanças do Hinário 4 para o Hinário 5. Também foi averiguado qual o impacto das mudanças no estudo dos hinos novos e antigos (onde houve várias mudanças) e qual a repercussão das organistas com relação ao acréscimo do terceiro pentagrama no Hinário 5. O presente estudo foi delineado com base em dois questionários elaborados e enviados para as organistas da Igreja Congregação Cristã no Brasil (uma vez que apenas as mulheres tocam o órgão), tanto para as oficializadas com profunda experiência no Hinário 4, como para as organistas aprendizes que só tiveram contato com o Hinário 5. Ficou evidente que muitas organistas oficializadas ainda apresentam dificuldades em tocar os hinos alterados do hinário devido às diferenças entre mão esquerda e pedal. As aprendizes não reportaram ter problemas porque nunca estudaram com outro hinário. Como na Igreja Congregação Cristã no Brasil somente hinos são tocados durante o culto, foram elaborados exercícios para auxiliar na adaptação do novo hinário, já que em 194 dos 480 hinos, as notas mais graves da mão esquerda e do pedal são distintas durante alguns compassos. O material produzido poderá auxiliar principalmente as organistas oficializadas, tornando-se também, uma fonte de consulta sobre os tipos de hinos para toda a classe. / This work aims to investigate the adaptation of the organist of the Christian Congregation Church of Brazil in relation to the modifications in the new hymnal (No. 5), as well as the impact it has had on the way the organists study the new and old (and altered) hymns. The addition of the third staff has also been investigated. Two questionnaires, as a basis for the study, were sent to women organists (since only women are allowed to play the organ): a group of Official organists with a great deal of experience with Hymnal No. 4, and beginner organists (Apprentices), who had only studied Hymnal No. 5. The Official organists reported that many still present difficulties playing the altered hymns of the latest edition because of the differences between the left hand and pedal. The Apprentices admitted not having any problems since they never came in contact with other editions of the hymnal. Considering that the Christian Congregation Church of Brazil only allows hymns to be performed during services, exercises were elaborated to help them adapt to the new hymnal, since in 194 of the 480 hymns, the lower note of the left hand and the pedal are not the same for several measures. The material presented is intended to aid mainly the Official organists, however, it may be utilized by all organists as a source for the many different types of hymns.