Abstract:
Practical theology embraces the field of study of liturgical/musical practices in Christian worship, divided into composition, rehearsal and performance practices. This work has an emphasis on collective composition practices and experiences for Christian worship. The Evangelical Church of Lutheran Confession in Brazil (IECLB) is a church that celebrates its services with music. The thesis discusses the general issues of music in Lutheran worship in a Brazilian context and, specifically, analyzes the impact of creating new repertoires for use in Christian worship of Lutheran confessional identity. That is why we use the expression liturgical/musical practices, which involve a broader view of music and worship, including both the processes of composition,
rehearsal and molding of the liturgy and the practice of music in the liturgy itself, in the area of practical theology in dialogue with postcolonial studies, especially in the decolonial perspective. From this dialogue, it is revealed what the coloniality of modernity represents in the liturgical/musical practices of the Lutheran worship of the IECLB, from examples of repertoires used, rehearsal practices and practices in the space of worship. It is noticed that music is created and selected for use in worship based on Western epistemic and hermeneutical concepts and assumptions that may, from a decolonial perspective, occultly carry preconceived colonial elements that sustain racist, patriarchal and other prejudices. In this sense, the expression conventional liturgical/musical practices encompasses a set of crystallized practices of musical and liturgical making, defined by Western standards and promoters of identification that establish hermetic, hierarchical, universal and hegemonic theological constructions over other practices not linked to propositions. of European origin. From
the post-colonial analysis of music in the Lutheran worship of the IECLB, the research presents a contextualized theological reading of the practices of musical composition that is understood as another liturgical/musical practice, which highlights and elevates the collective character of creative processes , the aspect of the diversity of knowledge involved in musical creation and the impact of significant repertoires, which rescue the devotional element of liturgical music, presenting a counterpoint to the exclusivist aesthetic rhetoric of conventional liturgical/musical practices. The method is bibliographical and self-narrative: from the dialogue between the readings and the author's place of speech, questions arise and possible paths for other practices, resignified by the provocations of decolonial thinking.
