Detalhes bibliográficos
| Ano de defesa: |
2021 |
| Autor(a) principal: |
NOGUEIRA, DEIVISON BRITO |
| Orientador(a): |
Vargas, Herom |
| Banca de defesa: |
Künsch , Dimas Antônio,
Barros , Laan Mendes de |
| Tipo de documento: |
Dissertação
|
| Tipo de acesso: |
Acesso aberto |
| Idioma: |
por |
| Instituição de defesa: |
Universidade Metodista de Sao Paulo
|
| Programa de Pós-Graduação: |
Comunicacao Social
|
| Departamento: |
Comunicacao Social:Programa de Pos Graduacao em Comunicacao Social
|
| País: |
Brasil
|
| Palavras-chave em Português: |
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| Palavras-chave em Inglês: |
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| Área do conhecimento CNPq: |
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| Link de acesso: |
http://tede.metodista.br/jspui/handle/tede/2090
|
Resumo: |
The research observes a change in Brazilian evangelical music, especially at work, some artists who do not see themselves represented by the gospel marketing label. Terms like “music made by Christians”; “Brazilian music with Christian roots”; “Brazilian music woven in hope” and “post-gospel” are used to name a type of production that is at odds with the hegemonic market standard. The objective is to understand in what aspects and to what extent this song production is distinguished from hegemonic gospel music when elaborating a new production of meaning in media culture. Four in-depth interviews were conducted with evangelical musicians: Marcos Almeida, Jorge Camargo, Estêvão Queiroga and Gerson Borges and the song analysis of four songs by each artist through the semiotics of culture and the notion of musical genre. The theoretical framework of reference is the semiotics of culture in Yuri Lotman, British cultural studies and the musical genre in Franco Fabbri. The in-depth interviews showed a critical position in relation to the market and the gospel song produced in Brazil. Song analysis revealed, through uses, appropriations and uses of culture, a new production of the meaning of the song as well as new ways of understanding the gospel song. The data obtained from in-depth interviews and song analysis show that Brazilian gospel music is not univocal as gospel music makes it seem. The communication used in the songs and all the elements of the song language point to another universe not only subscribed to the religious sphere |
