Estratégias discursivas em elementos da discografia evangélica

Abstract

This paper presents considerations about some elements of the Gospel record musical production, especially the discursive strategies which involve it, starting from the theoretical perspective of the philosopher Michel Foucault and his arquegenealógico method. Inquires about which knowledges are produced about the gospel music through power elements. Considers the theoretical changes in the field of history, human and social sciences, which enables the conception of the gospel musical discs while investigative material and historical source full of historicity and discourse. Analyzes the discursive formations on gospel music, considering its conditions of existence, coexistence and maintenance in several materiality: young musical groups’ LPs in Presentations and recommendations produced within Pentecostalism, and a composition named "Só entra lavado ". In his archaeological phase, Foucault (1969) analyzes the speech starting from the knowlegde. According to him the discursive practice is determined by a regularity that allows that something appears as real. In his study of the genealogy, Foucault (1999) states that there is an interdependence between discourse and power, because this, the speech is an instrument and an effect of the power. In this sense, the arquegenealógica analysis allows us to observe the speech as a place where knowledge and power are. Anchored in arquegenealogia, is analyzed in this work, as the power penetrates in the everyday life, promoting knowledge and discourse about what is gospel music, producing a dialogical relation with the bible speechs about marriage as an institution that should last forever, disciplining those who "enters in the heaven." The material that constitute the corpus of this research correspond to the 70’s and 80’s, temporal delimitation that represents the period of formation and expansion of the Brazilian Evangelical Phonographic Industry, besides the rise of musical styles and genres that come to challenge the official hymnody of the brazilian historic Protestantism, period in which the conception gospel was not an usual terminology in the phonographic productions, much less in the order and discursive formation of this context.