Thesis (D.W.S.)--Institute for Worship Studies, 2005. / Abstract. Includes bibliographical references (leaves 192-195).

Thesis (M. Div.)--St. Vladimir's Orthodox Theological Seminary, Crestwood, NY, 2007. / Abstract. Includes bibliographical references (leaves 74-76).

Thesis (D.W.S.)--Institute for Worship Studies, 2005. / Abstract. Includes bibliographical references (leaves 192-195).

Thesis (M. Div.)--St. Vladimir's Orthodox Theological Seminary, Crestwood, NY, 2007. / Abstract. Includes bibliographical references (leaves 74-76).

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<p>This thesis aims to investigate and discuss the possibility for women in the early Christian church to make music, which in the ancient Roman society was something complicated. Afemale musician was looked upon as decadent and dissolute. This idea, in combination with the music ideals of the church influenced by the Neoplatonic movement, and the Pauline statement (1 Cor. 14:34-36), cast women to be completely prohibited in participating even in the psalmody during the service. My purpose is to discuss how this was looked upon in different Christian regions, using the church fathers as the main material source, since this has not previously been well documented or studied.</p>

This thesis aims to investigate and discuss the possibility for women in the early Christian church to make music, which in the ancient Roman society was something complicated. Afemale musician was looked upon as decadent and dissolute. This idea, in combination with the music ideals of the church influenced by the Neoplatonic movement, and the Pauline statement (1 Cor. 14:34-36), cast women to be completely prohibited in participating even in the psalmody during the service. My purpose is to discuss how this was looked upon in different Christian regions, using the church fathers as the main material source, since this has not previously been well documented or studied.

Este estudo tem como objetivo investigar as relações educativo-musicais presentes na Igreja Católica de Porto Alegre. A questão norteadora indaga como ocorreu a aprendizagem musical de pessoas que atuam neste contexto e como o ensino de música é desenvolvido. Para realizar esta pesquisa, optei pela abordagem qualitativa, realizando um estudo de caso. Para elaboração do referencial, foram consultados Souza (2004; 2014), Setton (2008; 2012) e Petitat (2011). De um total de 240 pessoas envolvidas com música na igreja, foram selecionadas doze que atuavam como professores e/ou formadores de música. Sobre a aprendizagem musical, identificaram-se diversos processos que não ocorrem fixos nem isolados, mas de maneira dinâmica, estando interligados inclusive com outras instâncias formativas. Descreveram-se: a aprendizagem que ocorria na prática (aprender fazendo); o aprender no grupo; a autoaprendizagem; o aprender em cursos, ensaios e festivais na igreja. Sobre o ensino e a atuação, analisaram-se concepções do ser músico na igreja, as diferenças entre o profissional remunerado e o voluntário; o ser professor e/ou formador. Foram pontuadas questões referentes à divulgação e à captação de alunos, ao local das aulas, às escolhas didáticas. Esta pesquisa contribui para a reflexão de como os processos de educação musical ocorrem na Igreja Católica e amplia o olhar sobre o aprender e o ensinar música. / The purpose of this study was objective to investigate the educational-musical relations present in the Catholic church of Porto Alegre. The leading question was how the musical formation of people who work in this context occurred and how the musical teaching was executed. To accomplish this research, I opted for a qualitative approach, conducting a case study. The authors Souza (2004; 2014), Setton (2008; 2012) and Petitat (2011) were included in the framework. From a total of 240 people who worked with music in the Church, twelve were selected because they worked as teachers and/or music trainers. Several processes about musical learning were identified, which do not occur isolated and fixed, but in a dynamic and interconnected way, also in relation with other formative instances. It was possible to describe: the process of learning, which occurred in practice (to learn while doing); learning in group; self learning; learning in courses, rechearsals and church festivals. About the teaching and performance, it was possible to analyze conceptions of being a Church musician, the differences between the paid professional and the volunteer; and about being a teacher and/or trainer, highlighting questions related to disclosure and recruitment of pupils, class locations, and selection of didactic activities. This research contributes to the reflection about how these processes of musical education occur in the Catholic Church, thus increasing how to see learning and teaching music.

Este estudo tem como objetivo investigar as relações educativo-musicais presentes na Igreja Católica de Porto Alegre. A questão norteadora indaga como ocorreu a aprendizagem musical de pessoas que atuam neste contexto e como o ensino de música é desenvolvido. Para realizar esta pesquisa, optei pela abordagem qualitativa, realizando um estudo de caso. Para elaboração do referencial, foram consultados Souza (2004; 2014), Setton (2008; 2012) e Petitat (2011). De um total de 240 pessoas envolvidas com música na igreja, foram selecionadas doze que atuavam como professores e/ou formadores de música. Sobre a aprendizagem musical, identificaram-se diversos processos que não ocorrem fixos nem isolados, mas de maneira dinâmica, estando interligados inclusive com outras instâncias formativas. Descreveram-se: a aprendizagem que ocorria na prática (aprender fazendo); o aprender no grupo; a autoaprendizagem; o aprender em cursos, ensaios e festivais na igreja. Sobre o ensino e a atuação, analisaram-se concepções do ser músico na igreja, as diferenças entre o profissional remunerado e o voluntário; o ser professor e/ou formador. Foram pontuadas questões referentes à divulgação e à captação de alunos, ao local das aulas, às escolhas didáticas. Esta pesquisa contribui para a reflexão de como os processos de educação musical ocorrem na Igreja Católica e amplia o olhar sobre o aprender e o ensinar música. / The purpose of this study was objective to investigate the educational-musical relations present in the Catholic church of Porto Alegre. The leading question was how the musical formation of people who work in this context occurred and how the musical teaching was executed. To accomplish this research, I opted for a qualitative approach, conducting a case study. The authors Souza (2004; 2014), Setton (2008; 2012) and Petitat (2011) were included in the framework. From a total of 240 people who worked with music in the Church, twelve were selected because they worked as teachers and/or music trainers. Several processes about musical learning were identified, which do not occur isolated and fixed, but in a dynamic and interconnected way, also in relation with other formative instances. It was possible to describe: the process of learning, which occurred in practice (to learn while doing); learning in group; self learning; learning in courses, rechearsals and church festivals. About the teaching and performance, it was possible to analyze conceptions of being a Church musician, the differences between the paid professional and the volunteer; and about being a teacher and/or trainer, highlighting questions related to disclosure and recruitment of pupils, class locations, and selection of didactic activities. This research contributes to the reflection about how these processes of musical education occur in the Catholic Church, thus increasing how to see learning and teaching music.

Este estudo tem como objetivo investigar as relações educativo-musicais presentes na Igreja Católica de Porto Alegre. A questão norteadora indaga como ocorreu a aprendizagem musical de pessoas que atuam neste contexto e como o ensino de música é desenvolvido. Para realizar esta pesquisa, optei pela abordagem qualitativa, realizando um estudo de caso. Para elaboração do referencial, foram consultados Souza (2004; 2014), Setton (2008; 2012) e Petitat (2011). De um total de 240 pessoas envolvidas com música na igreja, foram selecionadas doze que atuavam como professores e/ou formadores de música. Sobre a aprendizagem musical, identificaram-se diversos processos que não ocorrem fixos nem isolados, mas de maneira dinâmica, estando interligados inclusive com outras instâncias formativas. Descreveram-se: a aprendizagem que ocorria na prática (aprender fazendo); o aprender no grupo; a autoaprendizagem; o aprender em cursos, ensaios e festivais na igreja. Sobre o ensino e a atuação, analisaram-se concepções do ser músico na igreja, as diferenças entre o profissional remunerado e o voluntário; o ser professor e/ou formador. Foram pontuadas questões referentes à divulgação e à captação de alunos, ao local das aulas, às escolhas didáticas. Esta pesquisa contribui para a reflexão de como os processos de educação musical ocorrem na Igreja Católica e amplia o olhar sobre o aprender e o ensinar música. / The purpose of this study was objective to investigate the educational-musical relations present in the Catholic church of Porto Alegre. The leading question was how the musical formation of people who work in this context occurred and how the musical teaching was executed. To accomplish this research, I opted for a qualitative approach, conducting a case study. The authors Souza (2004; 2014), Setton (2008; 2012) and Petitat (2011) were included in the framework. From a total of 240 people who worked with music in the Church, twelve were selected because they worked as teachers and/or music trainers. Several processes about musical learning were identified, which do not occur isolated and fixed, but in a dynamic and interconnected way, also in relation with other formative instances. It was possible to describe: the process of learning, which occurred in practice (to learn while doing); learning in group; self learning; learning in courses, rechearsals and church festivals. About the teaching and performance, it was possible to analyze conceptions of being a Church musician, the differences between the paid professional and the volunteer; and about being a teacher and/or trainer, highlighting questions related to disclosure and recruitment of pupils, class locations, and selection of didactic activities. This research contributes to the reflection about how these processes of musical education occur in the Catholic Church, thus increasing how to see learning and teaching music.