Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Uma proposta de formação teológico-musical das juventudes, a partir do contexto de um grupo de louvor. Averigua de que forma se dá esta formação e como pode ser trabalhada com intencionalidade. No primeiro capítulo, são contextualizadas as três grandezas constituintes da pesquisa: as juventudes, a música sacra contemporânea e a educação cristã em contexto evangélico-luterano. No segundo capítulo, aborda os diferentes paradigmas que sustentaram a música sacra em contexto evangélicoluterano, as correntes da música sacra atual e, a partir do contexto contemporâneo, o fenômeno gospel. O terceiro capítulo trabalha com as narrativas de vida de seis jovens, que participam de um grupo de louvor e adoração. A partir dessas narrativas, emergem quatro categorias para a análise: formação de vínculos, protagonismo e tutela, compreensão de papéis e funções e a aprendizagem no e a partir do grupo. O quarto capítulo esboça um diálogo entre a prática no grupo de louvor, o Plano de Educação Cristã Contínua da Igreja Evangélica de Confissão Luterana no Brasil e a teoria sócio-interacionista proposta por Vygotsky. O quinto capítulo faz uma proposta de formação teológico-musical que pode servir de subsídio para o trabalho com jovens em contexto comunitário, a partir de reflexões e de práticas / A proposal for theological-musical training for youth groups based on the context of a praise group. It verifies in what way this training takes place and how it can be worked with intentionality. In the first chapter, the three constituting groupings of the research paper are contextualized: the youth groups, contemporary sacred music and Christian education in an Evangelical-Lutheran context. In the second chapter, the different paradigms which sustained sacred music in the Evangelical Lutheran context, the currents of modern sacred music and, based on the contemporary context, the Gospel phenomenon are dealt with. The third chapter works with the life narratives of six youth who participate in a praise and adoration group. Based on these narratives, four categories arise for analysis: formation of ties, protagonism and tutelage, comprehension of roles and functions and the learning in and based on the group. The fourth chapter outlines a dialogue between the practice in the praise group, the Plan for Continuing Christian Education of the Evangelical Church of Lutheran Confession in Brazil and the social-interactionist theory proposed by Vygotsky. The fifth chapter presents a proposal for theological-musical training which can serve as a resource for the work with youth groups in the congregational context, based on reflections and practices.

Conselho Nacional de Desenvolvimento Científico e Tecnológico / A presente pesquisa tem como objetivo geral investigar as raízes teológicas dos hinos e cantos sacros cantados na Comunidade Evangélica Luterana Scharlau, da IECLB, para, assim, entender a teologia proveniente neste contexto. Tem como objetivos específicos examinar a história da IECLB, do Movimento Encontrão e da Comunidade Evangélica Luterana Scharlau, suas contribuições para o desenvolvimento da música comunitária e verificar em que medida ocorre a influência das correntes teológicas na definição dos hinários e músicas escolhidos, investigar em que medida as concepções teológico-musicais de Lutero estão presentes na música contemporânea entoada na Comunidade Evangélica Luterana Scharlau e delimitar, a partir da análise da modernidade e pós-modernidade em relação a teologia de Lutero, possibilidades de critérios para as escolhas das músicas a serem cantadas nas celebrações. Para fundamentar a investigação, foram utilizadas diversas referências bibliográficas como livros, jornais, revistas, atas, hinários e cancioneiros. A composição do hinário da Comunidade Evangélica Luterana Scharlau é analisada verificando as canções que são de outras confissões religiosas a partir da teologia luterana e do Movimento Encontrão. Os resultados da pesquisa permitiram observar como se configurou a história da IECLB e sua música, como Lutero tinha estima pela música e sua preocupação com o cuidado com a música, e como a escolha de critérios para a formação de hinários e cancioneiros podem caracterizar uma teologia musical das comunidades. / This research has the general objective investigate the theological roots of hymns and sacred songs sung in the Evangelical Lutheran Community Scharlau, IECLB to thus understand theology from this context, its specific objectives are to examine the history of IECLB , the Encontrão Movement and the Evangelical Lutheran Community Scharlau , his contributions to the development of community music and verify to what extent is the influence of theological currents in the definition of the chosen hymn books and music, investigate the extent to which theological and musical conceptions of Luther are present in contemporary music sung in the Evangelical Lutheran Community Scharlau and delimit, from the analysis of modernity and postmodernity in relation Luther's theology , criteria of possibilities for the choices of songs to be sung in the celebrations. To support the research , we used various references such as books , newspapers, magazines , minutes , hymnals and songbooks . The composition of the hymnal of the Evangelical Lutheran Community Scharlau is analyzed by checking the songs are of other faiths from the Lutheran theology and Encontrão Movement. The results of the research allowed to observe how to set up the history of IECLB and his music, as Luther had appreciation for music and his concern for the care of the music, and how the selection criteria for the formation of hymnals and songbooks may feature a theology music community.

This thesis deals with relationship of music and theology. It stems from history of development of the philosophic judgement on the notion of ?musica? in antiquity as well as from the contemporary conceptions and definitions of music. Subsequently it proceeds to the presentation of selected writings of both historical and contemporary theologists? dealing with the subject of the art of music. Based on their analysis this thesis comes to the conclusion that a relationship between theology and music indeed exists and their dialog mutually enriches both of these disciplines. Music transcends the limited capabilities of speech and with its own instruments it speaks about the infinite God. This central thought at which the thesis arrives, is concretely documented in musical activities and pieces of work by selected composers of classical music.

A theology of Church music for worship has been conspicuous by its absence. The need is clearly demonstrated in this thesis, as is the methodology to develop this theology. The Biblical record of musical usage shows that theological principles can be uncovered to guide theuse of music today. The same process can be applied to the use of music for worship in church history. In order for these principles to have practical application, the challenges facing the Methodist of Southern Africa today are examined. Finally, a theology of Worship Music is developed under three headings. The first, Worship Music as Sacred Sound, explores the inherent music making of God, and of humanity. The second heading, Worship Music as Sacred Act, explores the way music is used as part of the Church's worship activity. The third heading, Worship Music as Sacred Word, explains how music can communicate in worship. / Philosophy, Practical & Sytematic Theology / M. Th. (Systematic Theology)

A theology of Church music for worship has been conspicuous by its absence. The need is clearly demonstrated in this thesis, as is the methodology to develop this theology. The Biblical record of musical usage shows that theological principles can be uncovered to guide theuse of music today. The same process can be applied to the use of music for worship in church history. In order for these principles to have practical application, the challenges facing the Methodist of Southern Africa today are examined. Finally, a theology of Worship Music is developed under three headings. The first, Worship Music as Sacred Sound, explores the inherent music making of God, and of humanity. The second heading, Worship Music as Sacred Act, explores the way music is used as part of the Church's worship activity. The third heading, Worship Music as Sacred Word, explains how music can communicate in worship. / Philosophy, Practical and Sytematic Theology / M. Th. (Systematic Theology)