Estetyka sytuacji edukacyjnych

Author(s): Danuta Waloszek / Language(s): Polish Publication Year: 0

In the face of increasing knowledge, fewer and fewer arguments supporting teacher’s actions can be found in philosophy and epistemology, but more in the culture. The sense of modern education is creating, not giving the news, that is why there is a need of changing a role of the teacher — Leaving the method based on introducing him into certain roles and replacing it with the method promoting the attitude to culture.The teacher should learn how to create human’s educational space — As a student defending himself against the capture, the teacher should serve its development, not only the interest of different social ranks or political classes.Situated in culture, mostly because of speech, the teacher accomplishes various aesthetics, close to postmodern forms of communication between the human and the world. I understand aesthetics, as M. Bachtin thought, not only as a sphere concerned with beauty, but as a surface of thinking about the world, acceptable behavior and complex social experience. In this context aesthetics allows analyzing forms of arranging educational situations. So basically it is the answer to the need of avoiding traps, in which modern man falls, it says how to get along with them, starting from childhood (and perhaps above all). Among educational aesthetics, reflecting the educational specifics of childhood, we can mark out: Situation of being first; Situation of being second, in the background of the role, task, and person; The triad, or a situation implicating a normative postulate „Allowing this third” to act (A play, a game, special action). Music, as Aristotle said, is an example of an integrated aesthetical educational situation supporting a child in its development.

Dylematy aksjologiczne powszechnej edukacji muzycznej

Author(s): Rafał Ciesielski / Language(s): Polish Publication Year: 0

The essence of education is to show a quantum of knowledge and skills recognized by a given community as necessary in educating a young man. The criteria of determining its range and content are different for humanities and scientific disciplines. In the former case the scientifically verifiable topicality of the knowledge and its accordance with reality are the decisive factors. In the latter, it is the aesthetic-axiological cultural factor. The form of subjects referring to the artistic disciplines — literature, art or music — is the function of the adopted axiological perspective, while aesthetic education — in its deepest roots — is being axiologically oriented in a natural way: the axiological issues address it to the same extent (or even a greater one, as it shapes the future) as they address music education, performers, artistic criticism, editing publications, and lastly — everyday decisions of individuals.In the face of aesthetic and methodical abuses frequently found in music education it is necessary to devise such a way of approaching a work of music in which it is shown as a piece of work with a culturally determined genesis, aesthetic-musical context, artistic form and aesthetic influence.It seems that distancing the aesthetic perspective and further axiological relativizing is one of the primary causes of the crisis in music education: it fails to show the credible picture of music and, as a result, is unable to satisfy the aesthetic needs of the youth.

Wartości poznawcze śląskich pieśni ludowych

Author(s): Krystyna Turek / Language(s): Polish Publication Year: 0

The article is a general reflection on the issue of cognitive values of Silesian folk songs. The song repertoire was looked at in the article from several perspectives, taking into consideration its connections with a folk tradition. Much onus fell on the lexical layer characterizing the reality and diversity of song content and function. The basic scope of artistic means within poetics and song melody was discussed. Important comments concerned the means of transmission, rules of functioning and folklore communication.The suggestions encouraging the audience to read the song parts proved the fact that Silesian folk songs are the book of knowledge on traditional, family, social and artistic culture, and a fundamental source of getting to know the past, as well as consolidating the feeling of one’s own identity.

Nowe media a odpowiedzialność jako kategoria aksjologiczna w edukacji estetycznej młodzieży

Author(s): Ewa Szaradowska-Zamirska / Language(s): Polish Publication Year: 0

Nowadays, values are the subject of many scientific disciplines. The main focus of the article is responsibility comprehended both as a general human value and as an inseparable part of an upbringing-aimed discussion. It asks the following questions, ‘What new does a computer contribute to the educational process realised in the area of the artistic and musical education of the school youth?’, ‘How, in the context of an advancing process of IT (Information Technology) or new media use (here: a computer, the Internet), is an issue of a pedagogue’s responsibility perceived?’. It points out some aspects of the use of the above-mentioned media in the aesthetic education of the young. The article focuses attention on the fact that, beside some possible threats, there are undoubtedly exceptional opportunities for creating didactic as well as educational situations. Alongside this, the article emphasizes the necessity of a deep introspective reflexion over a pedagogue’s own hierarchy of values.

Lwowski dyrygent, kompozytor i pedagog profesor Adam Sołtys i jego uczniowie

Author(s): Tatiana Lysenko-Diduła / Language(s): Polish Publication Year: 0

The great achievements that belong to Prof. Dr. Adam Sołtys, a conductor, composer and pedagogue and who taught the world-known conductors such as Stanisław Skrowaczewski, Witold Krzemiński, Jerzy Kołaczkowski, Eugeniusz Kozak and such composers as Tadeusz Machl, Szandor Kallas, Andrzej Nikodemowicz, Szymon Niemand, Mirosław Skoryk and many others have not seen fundamental scientific researches nowadays. This gap is filled out by souvenirs of his daughter Maryla Sołtys, his disciples, professors Andrzej Nikodemowicz and Leszek Mazepa as well as short slogans that can be found in music encyclopadias. Because of this fact the name of this honoured man who worked for Polish culture is relatively little known both in Lviv and in Poland.That is why in our report we are trying to give a short description of his work as a conductor, composer and, what is the most important, a pedagogue of the first half of the XIX century and 1939—1968, to go into the root of his performing as a conductor and his methodology as a pedagogue, to shed a light on his huge influence as a well-known person who taught young composers and conductors.

Koncertowa aktywność nauczycieli akademickich a ich postawy wobec dziecięcej i młodzieżowej publiczności niepełnosprawnej

Author(s): Wiesława A. Sacher / Language(s): Polish Publication Year: 0

The subject-matter of the empirical studies is the measurement of the attitude of the academic teachers under the influence of the concert activity. The studies covered 21 teachers from the University of Music in Katowice. The results showed that the teachers’ attitudes change according to the personality features, value system, attitude to the work performed and emotional resistance to various audience reactions of the pedagogue-artist. The text was enriched with the model examples of research tools, as well as theoretical considerations within the scope of the concept of attitude.

Terapia muzyczna jako droga ku wartościom

Author(s): Radosław Tarczoń / Language(s): Polish Publication Year: 0

In the paper the author describes some possible application of musical therapy as a method of therapy towards a person with „a deficit”. Basing on his own experiences as an educator of music and a music therapist, the author of the article points that musical therapy has a very wide influence on the disabled. He also says that musical therapy can be used in practice. The author emphasizes that musical therapy is especially positive for the disabled in their individual therapy development and it is also a way to overcome a barrier between them and other people.He gives many examples of how musical therapy can be the main element of correction and disorder level nivellation. He writes that therapists, teachers and people who work in places like rehabilitation centres, patient clinics, specialized service agencies, need to enrich their elementary knowledge about musical therapy and its influence on disabled people. They also should know how to use different methods in their work to minimize deficits, disabilities and disorders.

Odbiór utworu muzycznego przez dziecko przedszkolne

Author(s): Lidia Kataryńczuk-Mania / Language(s): Polish Publication Year: 0

Listening to music is a long-lasting process that demands gaining abilities in remembering, understanding and feeling. Kindergarten children should be systematically introduced into an aural „observation” of a composition; they should be made sensitive about music elements, such as rhythm, melody, tempo, timbre, dynamics, articulation, composition’s structure, etc. Children are most interested in well-differentiated compositions, which are contrastive, characteristic and have a distinct articulation, which are full of surprises and are played in a lively tempo.Joining music with extra-musical contents facilitates noticing musical phenomena. Practice and research show that ‘live’ listening to music is ideal in accordance with children’s needs. Children should be provided with appropriate conditions regarding individual receiver’s possibilities (inter alia type of music, performance, and way of transmission).

Muzyka środkiem i wartością w rozwijaniu wyobraźni twórczej młodzieży licealnej

Author(s): Alina Górniok-Naglik / Language(s): Polish Publication Year: 0

The present text displays music as a means stimulating creative imagination of young people, assuming that every contact with music is a school of imagination, makes it possible to create another reality and frees the creative courage of the receiver. The thesis is proved in the text by the analysis of the novels written by students while listening to music. The analyses in question suggest the agreement between the intersemiotic translation and a construction of a musical text. Moreover, the analysis reveals the richness of the young people’s fantasy and imagination who, in the texts, reveal the truth about themselves, when facing fate adversities, looking for the sense of humanity and human existence. It shows a person who does more than a simple recording of what he or she knows and thinks about the work under the influence of music. Some of the novels have an unquestionable aesthetic value. Although the music was a means of doing, its value was not ‘hidden’ for the young who have not only read it, but also translated it into the system of new aesthetic qualities. At the same time, music, as an educational method and value, appears as a weapon in the fight for the education ‘to imagination’ and ‘with imagination’.

Specyfika zajęć umuzykalniających dla studentów kierunków pedagogicznych

Author(s): Danuta Zoń-Ciuk / Language(s): Polish Publication Year: 0

The author deals with the phenomenon of aesthetic education in pedagogy with a special focus on education through music. By describing musical education for pedagogy students she emphasises the role of singing as the simplest form of music. She considers the acquisition of the skill of playing musical instruments as developing musical abilities and making the classes more attractive. Movement to music is treated as a multi-functional education helping also in a better perception of a musical piece. Improvisation is treated as a means of developing musical imagination and as a form which shows the students’ potential in the best way and, hence, enables the teacher to treat students individually. The article contains a number of suggestions and conclusions concerning the ways of conducting classes. There are also practical tips for students as well as for teachers.

Muzyka wczesnego dzieciństwa a przygotowanie zawodowe nauczyciela

Author(s): Lidia Wollman / Language(s): Polish Publication Year: 0

The author presents the importance of music in life of the small child and bases of developing the musical interests in a family, kindergarten and school. The paper depicts the implementation of musical education by the kindergarten and primary school teachers, who are not well prepared to develop sufficiently the musical interests and skills of their learners. Then, the author presents the scope of knowledge, skills and competence that should be developed during in-service teacher education for the primary schools. However, the focus is on the proper selection of students that want to be teachers in the future, defining requirements for this profession.

Digitalno ja

Author(s): Jelena Guga / Language(s): Serbian

The ubiquitous use of digital technologies has enabled vast possibilities such as instant access to information, presence on any part of the planet, multiplication and transformation of identity, as well as re-articulation and reconstruction of embodiment. Science fiction film and literature, new media art practices, scientific research, and cyber theories often deal with the idea of leaving the body behind and uploading the immortal mind into digital databases where we can be whatever and whoever we want. Compared to modern technology, biological body is often considered obsolete and, as such, it is not “equipped” keep up with the exponential technological development. It is not surprising then that many studies, either scientific or popular, disregard the problem of corporeality and focus more on the issues of identity, consciousness, and disembodiment in digital worlds. Therefore, this book presents the works that focus on the issues of embodiment in the context of new media and their impact on social reality. The starting premise of the discussions is that without a physical body, there is neither virtual nor real. The book points to the importance of the physical body in biotechnological interfaces and the ways the role and functions of the body transform in virtual environments and affect our perceptions and understanding of human ontology

100 godina Franjevačke teologije u Sarajevu 1909.-2009.

Author(s): / Language(s): Bosnian,Croatian

Franjevačka teologija je u povodu stotinu godina svoga postojanja i djelovanja u Sarajevu (1909-2009) organizirala znanstveni skup i proslavu pod naslovom 100 godina Franjevačke teologije u Sarajevu: 1909.-2009. Znanstveni skup je održan 6. i 7. studenog 2009. u amfiteatru Franjevačke teologije, a 8. studenog – na dan blaženog Ivana Duns Škota, zaštitnika naše Teologije – održana je proslava tako što je svećeničkom euharistijskom slavlju predsjedao provincijal Bosne Srebrene fra Lovro Gavran. Za vrijeme euharistijskog slavlja izvedena je Missa Bosniensis Andrije Pavliča: Bosanska misa posvećena sv. Franji Asiškom, svim nesretnima, ispaćenima i izgubljenima ovoga svijeta, te bosanskim franjevcima i zboru Pontanima, koji je izveo misu. Zbor Pontanima je osnovao profesor naše Teologije fra Ivo Marković. Dirigirao je skladatelj Bosanske mise Andrija Pavlič (inače je dirigent zbora Pontanima Josip Katavić). Sudjelovali su Amila Bakšić, sopran; Zana Staniškovska, alt; Jasmin Bašić, tenor; Ivica Šarić, bas; i Dario Vučić, orgulje. Pokrovitelj Znanstvenog skupa i proslave je bio Željko Komšić, predsjedavajući Predsjedništva BiH. Koji je smisao Franjevačke teologije i uopće koji je smisao franjevačke škole mišljenja od srednjeg vijeka pa do danas? Evo kratkog odgovora. Franjevci, koji su bili nadareni za filozofsko i teološko mišljenje, nastojali su veličanstvenu viziju Franje Asiškog filozofski i teološko razraditi. Vizija Franje Asiškog, koja se temelji na Isusovu evanđelju, naglašava bratstvo i sestrinstvo svih ljudi, ne samo svih ljudi, nego i svih bića, to jest svih Božjih stvorenja u svemiru. Sva bića u svemiru su braća i sestre po stvorenosti. Jednakost među bićima uključuje i razliku među bićima, jer je svako biće originalno. I samo različita bića mogu biti u jedinstvu. Tom vizijom i njezinim prakticiranjem u svom životu Franjo Asiški je ponudio alternativu svijetu mržnje i nasilja, u kojem i danas živimo. To je on rekao svojom poznatom rečenicom koja glasi: “Exivi de saeculo” - “Izašao sam iz svijeta nasilja.” Izašao je iz svijeta nasilja i počeo osnivati svijet mira. Zadaća svih odgovornih bića jest izlazak iz svijeta nasilja i uspostavljanje svijeta mira, slobode i ljubavi. Zamislimo svijet bez nasilja i zamislimo svijet u kojem nasilje više neće biti moguće. Koliko su veliki franjevački mislioci tu viziju uspješno razradili i koliko su franjevci Bosne Srebrene, koji su živjeli i djelovali na Franjevačkoj teologiji, to mišlju i djelom svjedočili, to jest otjelotvorili, neka prosude drugi. U radovima sa znanstvenog skupa, koji se ovdje objavljuju, autori su obrađivali važne teme iz različitih perspektiva, pri čemu se moglo uvidjeti da je do Istine moguće doći samo dijalogom različitih perspektiva. Dijalogom uviđamo da je Istina jedna i da nas Istina sve nadilazi i povezuje u jednu zajednicu, ne samo nas, nego i cijelo čovječanstvo. Karl Jaspers je rekao: Istina je ono što nas povezuje (Wahrheit ist, was uns verbindet).

Franjevački samostan u Gučoj Gori

Author(s): / Language(s): Bosnian,Croatian

Nakon pada Bosne pod otomansku vlast (1463) razrušeni su, spaljeni i napušteni mnogi samostani u Bosni. Jedan od njih je i Lašvanski samostan, koji se nalazio, prema izvješćima bosanskih apostolskih vikara o pohodima Lašvanskoj župi, na Guvnima, naselju današnje dolačke župe. Ne znamo ni koliko je bilo braće u njemu kad je krajem 15. stoljeća stradao ni kamo su nakon njegova stradanja otišli. U nekim šematizmima provincije Bosne Srebrene piše da su odmah nakon toga prešli u Guču Goru. Makar sjedište vjerskog i franjevačkog života u Gučoj Gori, i to za čitavu Lašvansku dolinu, sezalo tako daleko u povijest, ipak je godina 2009. jubilarna - stopedeseta godina od njegova osnutka i postojanja u pravnom smislu. Sve do tada je ondje bila kuća, kasnije franjevačka rezidencija, u kojoj su boravili franjevci odakle bi odlazili obavljati pastoralnu službu po čitavoj Lašvanskoj dolini, pa i šire. Uz dopuštenje crkvenih vlasti, general Reda Manje Braće, dekretom od 30. svibnja 1859., proglašava samostan u Gučoj Gori. Sagradio ga je biskup fra Marijan Šunjić, rodom iz Bučića, jedan od najobrazovanijih ljudi svoga vremena. Organizatori za obilježavanje stopedesete obljetnice samostana odlučili su tim povodom održati znanstveni skup i izdati malu monografiju o samostanu. Znanstveni skup je održan 25. i 26. rujna 2009. godine, a monografija je ugledala svjetlo dana nekoliko dana prije održavanja znanstvenog skupa. U životu svakog naroda važno mjesto zauzima kulturno-povijesno naslijeđe kao dokaz stvaralaštva i životne snage naših predaka, kao simbol duha i pobjede čovjeka koji je ostavio znakove svoga postojanja. Stara je i mudra izreka koja se pripisuje fra Filipu Lastriću: “Pročitao sam kako je neki ozbiljan povjesničar rekao da je za svakoga čovjeka sramota ako ne pozna kraja u kojem boravi, ako ne zna kako je u njega došao i od kojih je pređa potekao”. A fra Ljubo Hrgić piše u svom Dnevniku: “Dane i noći hodao bih pokraj Lašve i gubio se u šumama. Tražio bih po grobljima starim, tražio bih staru dušu Bosne, drevnu tišinu. Možda je sav mistični čar moje zemlje u njenoj vjekovnoj tišini”. Koliko je Bosna i Hercegovina bila “svoja” svjedoče i samostan i crkva u Gučoj Gori. Ne samo što su ondje bili odgojni zavodi provincije Bosne Srebrene, nego se u njemu nalazila i pučka škola; ne samo što su franjevci Guče Gore vodili važne kulturne i poljoprivredne ustanove već su u njemu omladinska društva nalazila svoje prostorije. Selo Guča Gora nalazi se na 11. kilometru od Travnika i devetom od naselja Doca na Lašvi. Pogled iznad sela penje se prema sivom golom brdu Humu, te Carinama, stijenama koje kao da podupiru jedan plato, borovom šumom obrastao. A dolje, s druge strane prema jugu, vrletna se konfiguracija tla blago spušta prema dolini, praćena njivama, livadama i šumom. Ondje se nalazi prelijepa građevina, kao arhitektonski dragulj, s netaknutom i neunakaženom prirodom s kojom se teško može usporediti koji drugi krajolik. Sam je objekt bio prepušten igri povijesti, čiji su vjetrovi divlje trgali bosanski mir i idilu. Međutim, samostan se uvijek ponovno kao iz pepela dizao i fratri su u njemu započinjali novi život. Tako to traje već 150 godina od njegova proglašenja, a od davne 1706., dakle više od 300 godina, kada se prvi puta spominje, kao sjedište stare Lašvanske župe. Radovi sa simpozija u povodu stopedesete obljetnice postojanja samostana u Gučoj Gori pružaju čitatelju mogućnost upoznavanja s povijesnim zbivanjima, nekad dramatičnim i sudbonosnim, tijekom ne tako lake, ali ipak poštovanja vrijedne prošlosti samostana; također upoznavanja života kako običnih ljudi i istaknutih pojedinaca tako i povijesnih i kulturnih spomenika lašvanskog kraja.. Iznoseći mnoštvo povijesnih podataka i zanimljivih zgoda i nezgoda iz burne prošlosti i iz svakodnevnog života ljudi, autori svojim radovima skidaju prašinu s temelja iz kojih je nikao gučogorski samostan, ali i pročišćavaju izvore na kojima se snagom napajaju ljudi koji vole i samostan i svoj zavičaj. U tim radovima izlaze na vidjelo heroji, znameniti pojedinci, koji su ostali nepokolebivi u vjernosti Bogu, svome narodu i svojoj državi čak i onda kad je to, ljudski gledano, bilo nemoguće; ali izdvajaju i antiheroje, koji su, posebno u otomansko vrijeme, gušili život i rušili sve što drugačije od njih misli, govori i vjeruje. U odabiru autora i radova za jedan simpozij postoji opasnost da ostane po strani nešto što je važno. Radovi sa simpozija su upravo zbog toga poziv čitatelju na traženje i čitanje literature, izvještaja i kronika o svemu što je vezano za gučogorski samostan i njegovu povijest. U tom su smislu poticajne riječi fra Jake Baltića, graditelja samostana i velikog ljetopisca: “Svakomu čoviku, koji iole ima prosvete, milo je čitati i znati povijest svojih starih. Kakvi su naši stari bili? Što se s njima zbilo? Kako su se u događajim vladali? Kad bi se tako što napisano našlo od naših starih, prije šest stotina godina barem, ako ne starije, to bi vridilo prema dragom kamenju. Jer događaje i dila svojih starih pred očima imati, mogo bi se čovik okoristiti u svom življenju. Mudrih je ljudi izreka: ‘Nauči se na primjeru mnogih, što treba nasljedovati, a što izbjegavati’. Neka ti učitelj bude tuđi život’”.

Türk Göçü 2016 Seçilmiş Bildiriler 1

Author(s): / Language(s): Turkish

4th Migration Conference was held in Vienna. After a meticulous referee process at the Turkish Migration Conference, a conference program consisting of 72 sessions and 2 workshops was created. 350 oral presentations were made by 400 authors from various countries around the world. Some of the selection papers presented at the 4th Turkish Migration Conference were revised and expanded and published in various national and international magazines and books. In this review, we offer you a selection of the papers presented at the conference. This abstract collection consists of four sections within the framework of the basic areas in the field of migration. The first part includes migration, economy and social policy, migration, identity and diaspora in the second part, Urbanization, Politics and Migration Policies in the third part, and the fourth part of history, art and migration under the heading various works. We hope that these studies will also contribute to the development of turkish migration.

Znaczenie i funkcja motywu ruty w warmińsko-mazurskich pieśniach ludowych

Author(s): Ewelina Lechocka / Language(s): Polish Publication Year: 0

This article is an analysis of rue motives, which occurred in collection of Warmian and Masurian folk songs elaborated in 19th and 20th century. The purpose of this study was to define botanic vocabulary mentioned in folkloristic texts and to compare poetic representation of rue motif with its role in every-day-life and culture of Warmia and Masuria’s inhabitants. As it was deducted from maintained analysis, the folk output and botanic themes are a valuable source of information about identity of rural population from Warmia and Masuria territories. Utilization of rue motif in folksongs is characteristic for its strong resemblance to empiric reality, in which the plant plays a great role in every-day-life and in immaterial culture.

DOPRINOS AKADEMIKA IVANA CVITKOVIĆA RAZVOJU SOCIOLOGIJE RELIGIJE (POVODOM 75. GODIŠNJICE ŽIVOTA)

Author(s): / Language(s): Bosnian,English,Croatian,Slovenian,Serbian,Montenegrine

1. Sociolozi o Cvitkovićevom doprinosu sociologiji religije 2. Kritičari o knjigama Ivana Cvitkovića 3. Bibliografija radova

Opery włoskie – od fiaska do sukcesu

Author(s): Zofia Kozłowska / Language(s): Polish,Italian Publication Year: 0

The paper shows the history of chosen Italian opera’s masterpieces, which didn’t get recognition of the audience and of the critics in the very moment of their creation. The authoress concentrates on the circumstances of their stage exhibition, on the contemporary reactions and on their reception evolving over time.

Dažādi laikmeti tautas dziesm

Author(s): P. Šmits / Language(s): Latvian Publication Year: 0

Игра на текстове и музикални метафори в операта „Пъстрата птица“ от Симеон Пиронков

Author(s): Angelina Petrova / Language(s): Bulgarian Publication Year: 0

“The Spotted Bird” [“Pastrata Ptitsa”] is the most vivid political protest in Bulgarian opera art at the end of the 1970s and the beginning of the 1980s. In this form of theatrе, Simeon Pironkov manages to intertwine satirical intent with an absurdist perspective on the communist system. Quotation and quasi-quotation hold a central place in the dramaturgy of the pluralistic and collage-style opera. The collage technique, quasi-quotations, allusions, and the interplay of meaning/ meaninglessness in the layering of text and music form the core of the composer’s language in “The Spotted Bird”. This connects Pironkov’s satirical opera to the tradition of music-theatrical works based on the idea of multi-textuality, such as Reiner Bredemeyer’s “Candide” (1982) in East Germany, György Ligeti’s “Le Grand Macabre” (1977), and Bernd Alois Zimmermann’s “Die Soldaten” (1965), whose pluralistic language offers a novel, specific interpretation of opera. The language of “The Spotted Bird” is saturated with various types of quasiquotation. This enriches its dramaturgical layers with different kinds of metaphors and polytextuality, expressing Pironkov’s political protest. In “The Spotted Bird”, the composer employs quasi-quotations and allusions, with particular emphasis on parodying and quoting the language of officialdom. These elements also form the foundation of his vision for a music-theatre project infused with aspects of the “theatre of the absurd”. Pironkov’s project refers to his original concept of quasi-quotations, quasi-collages and allusions that with continuous disharmony/ irony parody and overlay the idioms of official opera and the musical vocabulary of socialist realism. The dramaturgical action in “The Spotted Bird” is constructed as a labyrinth of reflected/ideological meaning-games. In this opera, the composer brings to life a fantasy picture of political allegory: it is a parable about “The First” (the Sultan); the guards (the Politburo), the soldiers (State Security); the maidens, and a collective “image of the people”. The entire dramaturgical structure embodies “duality”. Thus, the labyrinthine construction of the opera’s action corresponds to the message of “duality”, the consubstantiality of the ideologeme. It is a kind of projection, an image/reflection of a futile dilemma, of the hopelessness of the ideological world. Consequently, both in structure and parody – on a linguistic level and in the parody of the genre itself – Pironkov creates an anti-utopian opera aimed against the totalitarian system. “The Spotted Bird” premiered on stage in 1980 in Ruse, followed by a performance in Sofia in 1981. It has not been staged since. Both the composer and thе conductor, as well as the director (Margarita Mladenova), were unequivocal and clear in their social and political message. The work stands as a significant phenomenon among dissident opuses and operas ridiculing communism and the totalitarian system in Eastern Europe