Expressão musical do canto e experiência religiosa do sagrado: análise fenomenológica das vivências de uso compartilhado dos sons dos devotos de Krishna

• Ano de defesa: 2012
• Autor(a) principal: Tércio Eliphas Leite Barbosa
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal de Minas Gerais; UFMG
• Palavras-chave em Português: Musica; Hare Krishna; Fenomenologia; Sagrado; Hare Krishnas; Música; Psicologia
• Link de acesso: http://hdl.handle.net/1843/BUBD-9FYEJ2

We developed field research with devotees of Krishna in Belo Horizonte/ MG with the general objective of investigating the sensorial dynamism of shared musical expression of singing as a possibility of conducting a religious experience of the sacred. Specific objectives: a) to capture the way individuals perceive and construct their interaction with the proposal of participation in shared singing b) to apprehend the dynamics of the relationship between sensory experience and religious experience of the sacred, c) to understand how the gesture of revisiting the singing is part of the construction of the religious experience of the sacred Krishna devotees. In order to grasp the characteristic dynamism of the experience of devotees with singing we adopted the phenomenology (Husserl) as theoretical and methodological proposal. We used the concepts of hyletic, noetic, transcendence (V. Frankl), myth (Eliade) and religious experience of the sacred (Eliade, van der Leeuw and Giussani) to understand the areas of significance that emerged from subjects, music and religious cultural context. We collected material through semi-structured interviews to describe and analyze the meanings that individuals give to the experience of musical expression of singing checking the possibility of conducting a religious experience of the sacred. We selected three interviews for phenomenological analysis, following the criterion of intentional choice. In the analysis about how the subjects elaborate their experience with the singing emerge four main pillars from the structure of this experience: 1) the sensorial dynamism of singing as encounter with the sacred power, 2) the experience of singing as horizon of transcendence; 3) the experience of singing as a relationship with memorable figures of religious tradition, 4) shared musical expression of singing as religious experience of the sacred. The experience of devotees with singing emerges characterized by a sensorial dynamism in which the realization of a religious experience of the sacred is the fundamental theme. According to the devotees, the holy-sound power appears as a correlation with the use of shared sounds, belonging to the musical expression of singing in a comprehensive way. The singing is experienced as a way for reaching a broader horizon of understanding issues that arise existentially in daily life of devotees, as well as the celebration of memorable figures of religious tradition that deserve to be remembered due to the fully realized experience they had by the singing. The confidence and the existential reassurance from devotees, conquered by entrusting themselves to holy-sound power, with the reverence, respect and admiration for the tradition of memorable figures, reveal musical expression of singing from the position of the devotees in the way that is taken personally. We conclude that the experience of shared use of sounds reveals the centrality of the holy-sound power in the sensorial situation of musical expression of singing that presents itself structured on the questioning dynamism of the religious sense, so that the holy-sound power is experienced as response to questions of meaning from the devotees. The experience of shared use of sound shows that its empirical structure of repetition and reiteration consists of a deep movement in the relationship of the devotees with the holy-sound power. The pragmatic sense of the devotees in the shared use of sounds in momentum led to question of the dynamism of the religious sense in that same use of sound, marked by fundamental questions of meaning.