MUSICIAN-PERFORMER IN THE FIELD OF BIOETHICS: A MENTAL ACT

Abstract

The secular value of the “natural right” of the person who makes music in the context of “ethical pluralism” provoked the emergence of various kinds of biomusical experiments in line with dehumanised naturalistic paradigm based on new data from neurobiology and cognitive sciences. This led to serious existential conflicts of the actor in the institutional infrastructure of musical performance as an affect of unconscious euphoria. The hope for their solution is given by a performer’s intuitive acceptance of the healing ability of musical emotion to activate his mental inclinations to personal growth. Thus, the aim of the proposed article is to substantiate the pedagogical model of performing by a musician-performer of a mental act – maximum activation of mental resources for self-disclosure as a substantial self in the process of mental play. It is revealed in the concept of performative didactics, in which performance appears not only as a medium, but also as a method and form of learning. It implements the existential-phenomenological paradigm of art pedagogy, learning as an art. To predict the impact of a mental play technology, as an independent predictor variable, on the implementation of a mental act of a musician-performer, as a dependent criterion variable, we have analysed the linear regression algorithm. Qualitative and quantitative indicators for assessing the ability of students of the experimental and control groups to a mental act allowed to build a three-dimensional qualimetric scale for future clustering of the experimental data.