The compositional aesthetics of the composer Roman Berger appealing to the philosophical-aesthetic aspect of art is an insistent memento of the author, set to music with the help of the so-called existential expression. Berger’s thinking on music rooted in the philosophical environment works as a stimulus for his creative writing. The humanistic and spiritual message is declared by Berger’s negative standpoint towards the commercialization of music and regression of the social function of the classical music, by the elevation of ethos as a function of creativeness, by the testimony to the necessity of spiritual cultivation, of new type of culture sensu stricto, by the formulation of the theory of “musico-genesis”, personal attitudes and respect for Man. Analytical examination of the author’s personal bibliography represented by his philosophical publications (Hudba a pravda [Music and Truth]; Dráma hudby [Drama of Music]; Zasada twórczości [Principle of Creativeness] and Cesta s hudbou [Life with Music]) allows us to ascribe to Berger not only the status of musical philosopher but also a position close to a mission of a “preacher”, who searches and finds the Truth about Man through the integrated composing and thinking activity.

Zdeněk Šesták belongs to the most significant Czech contemporary composers. The opening part of the study presents the composer’s biography. Then follows Šesták’s profile presenting him also as a musicologist focusing on the music history of his native village of Citoliby. The following paragraphs deal with an overall description of his compositional style and its transformations in the choral genre. The survey of Šesták’s choral works is divided into three sections – arrangements of folk songs, music for children and music for adult choirs. In addition to a general analysis of particular compositions information about their printed version is added, where available.

The contribution presents the Slovak composer Ladislav Stanček (1898–1979) and his music, specially his sacred compositions. This versatile musician – composer, organist, choirmaster, music theoretician and teacher – was a promoter of music art and as a composer he touched almost all music genres. His extensive sacred output comprises liturgical chants, organ and choral pieces, large vocal-instrumental works as well as chamber compositions. The song cycle Three Sacred Songs, Op. 107 (1975) was written in the composer’s last creative period. The contribution presents the musicperformance analysis of the cycle and the possibilities of the employment of sacred music in artistic education.

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

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