The artistic contribution of the composer Juraj Hatrík is complemented also by a distinctive theoretic-analytical ambition. Being one of Oto Ferenczy’s followers at the Department of Music Theory of the Academy of Performing Arts in Bratislava (VŠMU) he cultivates and deepens the tradition of analytical research of the capacity of musical symbolism that was established by Ferenczy as an initiator of philosophically and psychologically instructed reflection on music. Hatrík introduces a concept of perception analysis, motivated by his own artistic profile, which developed into the semiotic concept. He presents his analysis in several published studies, which, evaluated as a whole – especially in the context of music analysis tradition at the Academy of Performing Arts in Bratislava – represent its worthy continuation. The paper is a contribution to the exploration of Juraj Hatrík’s activity in this field.

The study was conducted to identify suitable possibilities of music and music education in preadolescents during the transition period from primary to middle school.

After the short introduction the author introduces the term ‘transition period’ and explains it in relation to the school environment. The first chapter considers the emotional and social balance of children during transition period and the impact of teacher–pupil communication and pupil–pupil communication on it.

The second chapter speculates about the influence of music on a child during the transition period. The author explains its potential using the division into artificial and non-artificial music. Further she explains the impact of music functions and music elements on a child during the transition period.

The third chapter focuses in detail on music education and its possibilities for the overall personality development of a child in the transition period to middle school. The author explicates the education from the aspect of its significance for pupils during their adaptation to a new school environment. She introduces three forms of education: formal, non-formal and informal. The last subchapter of the study pursues the interactive agents of the process of music education within which she focuses on 1. teacher – pupil – curriculum; 2. teacher and pupil participation in education process; and finally 3. pupils’ attitude toward music.

The Church of St. Stephen the King ranges among the most significant cultural monuments of the Nitra region. Situated in the municipal district Párovce it is an one-nave matroneum building with semi-circular apse. The first church was built here probably in the 10^th century and it was rebuilt in the Roman style in the 11^th and 12^th centuries. Since 1992 the church has been rented out to the Eastern Orthodox church, as evidenced by the interior arrangement. The absence of the organ and the existence of a large iconostasis were the crucial factors for the acoustic research, focused on the speech intelligibility, expressed via Speech Transmission Index (STI) and the rate of speech clarity C50. Other research results were the measurements of acoustic parameters according to the norm ISO 3382-1 assessing the space from the aspect of its suitability for musical productions.

Apart from his music Tadeáš Salva wrote also several music-theoretical works. His polyaesthetically conceived educational Discourse about Art integrates music history with prose, poetry and drama. Data on music composers and musical forms are creatively presented alongside analyses of representative music compositions. The treatise also includes instructive pieces: ‘Musical examples of canonical devices in Renaissance vocal polyphony created on the principle of authentic Slovak traditional songs’.

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