Performance e produção musical na Worship Music: o desenvolvimento da expertise sob a ótica de lideranças

• Ano de defesa: 2025
• Autor(a) principal: Paiva, Caio Bruno Medeiros de
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal da Paraíba; Brasil; Música; Programa de Pós-Graduação em Música; UFPB
• Palavras-chave em Português: Worship Music; Worship; Educação musical; Performance; Produção musical; Expertise; Music education; Music production; CNPQ::LINGUISTICA, LETRAS E ARTES::ARTES::MUSICA
• Link de acesso: https://repositorio.ufpb.br/jspui/handle/123456789/37514

With the global rise of the musical genre known as Worship Music, there has been increasing interest among musicians—particularly the younger generation—in this soundscape, and Brazil is no exception. In this context, the genre has evolved into not only a sonic expression linked with Christian faith, but also a multimillion‑dollar music industry transcending diverse social and cultural settings. This study is grounded in Christopher Winch’s theory of expertise, augmented by Ben Kotzee’s contributions, to investigate how knowledge and competencies are developed within the musical practice of this genre. Accordingly, this master’s research aims to analyze the process of expertise development of musicians and music producers in the context of Worship Music based on the experience of leadership. Specifically, it seeks to identify the core knowledge required for performance and music production in the Worship Music context; analyze the principal skills necessary for musician training according to Winch’s theory; and understand the emergent learning derived from performing and producing within this genre. Employing a qualitative approach, data collection included document analysis of audio and audiovisual records and semi-structured interviews. The theoretical framework encompasses not only Winch but also authors examining the context of Worship Music, its distinctive sonic characteristics, and those exploring church-based music education, creativity, and technology in music instruction. Structured in six sections, the dissertation reveals that expertise in this field is forged through participation in communities of practice, integration of tacit, technical, and theoretical knowledge, and peer recognition. Moreover, the study contributes to the training of new musicians by underscoring the importance of collective practice, active listening, proficiency with tools such as metronome and MultiTracks, and the mediating role of musicians and producers in shaping the musical experience.