The Bioethical Discourse in the Development of a Musician-Performer
DOI:
https://doi.org/10.18662/po/13.1Sup1/422Keywords:
The concept of musical performance, bioethical education, the connectivism theory, performative improvisation, strategy of creative clustering, psychological conditionsAbstract
Involvement of a modern performer in the dialogue of concepts of recompense and biocentrism regulates its experimentation with bio and recorded music by awakening a sense of responsibility at the level of the epigenetic rule. Therefore, the purpose of this article is to substantiate a pedagogical model of bioethical education of a musician-performer - creation of a favourable environment to motivate them to comprehend the value of what serves as confirmation of God-like dignity of a person and the general weal for the glory of the Creator. The essence of the proposed pedagogical model is the concept of musical performance as a workroom of soul. Its leading idea is metaphorization of the intonated sense of emotional revelation as an anthropological discourse. Specifically, the basis of the proposed model appears the connectivism theory of metaphorical interpretation. The direction of such performative activity is determined by the strategy of creative clustering, which involves playing out of music scenarios of the value-based choice on the path to “creative innocence” or “the path of the heart”. The regulatory function in implementation of the mentioned strategy performs the methodology of pedagogical and metaphorical creativity. The technology of performative improvisation and the contextual approach to the game are factors in activating the mental resources of the musician-performer. The effectiveness of implementation of the proposed pedagogical model provides creation of a special event platform in the art laboratory.
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