In his work Vývinové zákonitosti klasickej harmónie(Developmental Principles of Classical Harmony) from 1965 Slovak music theoretician Miroslav Filip (1932–1973) presented his original theory on harmony. This theory is standardly utilized in Slovakia as an introduction to the issue, however, his work has been published only in Slovak language and it is almost unknown abroad. Indeed, by means of this theory the essence of harmony can be explained not only from the aspect of a particular historical period, but generally, contrary to all concepts known so far to the author of the contribution. Filip perceives harmony as a dialectically contradictory unity of horizontal and vertical components, horizontal being the primary one and vertical the secondary one. Using the scientific, that is mathematical principles, he presents the exact theory of the harmony development on the basis of three laws, recurring periodically on an ever higher hierarchical level, or evolutionary spiral. After the explanation of the fundaments of Filip’s hypotheses, persuasively clarified by several dozens of examples mostly from the period of Classicism, several selected aspects are explicated by the author of the contribution through analytical and theoretical examinations confronted with current Western musicology. She points to the aesthetic expressive potency of the devices used by Filip, as well as to the prospects of the systematic use of the methodology outlined by Filip for the analysis of music of the 19^th and 20^th centuries.

Electroacoustic music resulted logically from the romanticised endeavours of the West-European artificial music tradition to enlarge and enrich timbre spectrum of the sound. Although since the beginning of its existence it was applicable also in other arts, its tradition as well as its artistic and aesthetic concepts and know-how were being built in the sphere of autonomous artificial music. The development of technologies and sciences, seemingly only marginally related to music (physics, acoustics, electrotechnology, information-communication means) contributed to its origin. Mainly since the end of the 20th century this development joined with commercial computerization and global development of digital information technologies and media has been so revolutionary that the production of electroacoustic works in quantity exceeds its expert reflection. On the one hand the situation results from a progressive inhibition of a “collective” experimental creation and reflection in academic and media institutions (namely in public service media which witnessed the birth of electroacoustic music and supported, developed and controlled it for decades). On the other hand it results from the individualization and “dilettantism” of the authors and reflection influenced by global internet communication and generally accessible computer technology. The contribution deals with the scrutiny of historically determined terminological basis of electroacoustic music. It points to the broadening of the meaning of the terms joined with the phenomenon of electroacoustic music and opens the discussion for a new definition of the concept itself.

The Calvinist Church in Kalinčiakovo belongs to the most significant cultural monuments in Slovakia. Its history reaches back to the first half of the 12^thcentury. Originally it was a Roman-Catholic church consecrated to St. Ann. Today it belongs to Calvinists and church services take place in it regularly. The speech intelligibility during the church services is the key acoustic parameter of churches and its level can be measured and expressed via two parameters – Speech Transmission Index (STI) and the rate of speech clarity C50. The measurement was realized for various microphone positions with a number of audio sources placements with regard to the usual places from which the speeches are given. Apart from the parameters for speech intelligibility also other acoustic parameters were measured in the Calvinist Church in Kalinčiakovo necessary for the evaluation of the space from the aspect of its suitability for musical productions.

Zoltán Kodály belongs to significant composers, teachers of music and most distinctive personalities of the 20^th century music.

Zoltán Kodály’s life and his work were also connected with Slovakia for certain periods of his life. His childhood and student years are joined with Slovakia, as well as his extensive ethnomusicological work. In the period 1885 – 1892 he lived in Galanta, where he attended the municipal elementary school, and he spent the following period (1892 – 1896) in Trnava. His relation to his future artistic vocation began to be formed right in this town, during his studies at the Roman-Catholic archiepiscopal grammar school in Trnava, where he met and befriended Mikuláš Schneider-Trnavský. His ethnomusicological activity also attached Kodály to the territory of Slovakia. Between the years 1905 and 1920 he regularly visited Slovakia and collected, wrote down and studied traditional vocal and instrumental music. His collector’s work he performed namely on the so-called Terra Mathei (Matúš’s Land – the lands belonging formerly to Matthew (III) Csák), in the vicinity of Galanta, Nitra, Gemer, and Tekov. This activity resulted in more than 2,000 Hungarian and 140 Slovak folk songs recorded, 18 of which he further elaborated and quoted in his compositions. They are namely the choral works Two Folk Songs from Zobor, Scenes from Mátra, Hungarian Folk Songs (published jointly with Béla Bartók). Also Kodály’s most famous work, Dances of Galanta, belongs to them, as well as educational work Bicinia Hungarica, dedicated to Kodály’s “bare-foot schoolmates from fifty years ago”. Kodály as a researcher also studied folk songs collected on the territory of Slovakia and he released the results of his ethnomusicological activity in publications, e.g. Mátyusföldi gyűjtés (Collection from the Terra Mathei) 1905, Zoborvidéki népszokások (Folk Customs, Traditions from around Zobor) 1909, Régi karácsonyi ének – Nyitra-megyei községek karácsonyi miséi (Ancient Christmas Chant – Christmas Masses from the Villages of Nitra District).

Kodály visited Slovakia, Galanta, for the last time in 1943, when he was solemnly awarded the Honorary Citizenship of Galanta. Especially the city of Galanta in Slovakia is credited to a great extent with the promotion of Zoltán Kodály’s music heritage. To this city Kodály’s Days Festival is bound, as well as International Meeting of Choirs named after Zoltán Kodály, Zoltán Kodály International Violin Competition, Zoltán Kodály Choir. A street, the elementary school and grammar school in Galanta are named after the Maestro. The relations of Kodály and the city are affirmed by the plaque and Kodály’s bust, and bibliographies compiled in the Galanta library.

The creation, artistic as well as paedagogical legacy by Zoltán Kodály have thus acquired their respectable place in Slovakia. His works sound in many theatres and on concert stages, his pedagogical works are used for teaching of music at all levels, and his ethnomusicological results are presented on many scientific platforms and in scientific publications.

[The contribution is available only in Slovak language in the printed version of the revue.]