Aria in Bb major Coeli cives convolate by the Moravian composer Damas Brosmann belongs to remarkable works of the composer who lived and worked during the Classical period. In our territory, the piece has been preserved in the Music Collection of the Ursuline convent in Bratislava and in the Music Collection of Jesuits and Piarists in Trenčín. Two other copies have been preserved in Bohemia, one in the Moravian Museum in Brno, another in the Municipal Museum in Česká Třebová. The aria has lyrics in Latin and it is designated for soprano solo. The performer has to be a skilled singer who commands the vocal technique, handles the breathing and is experienced in coloratura singing. Thanks to the several preserved copies we can learn more about the Classical vocal-instrumental rendition of period musicians, as well as discern the differences between the particular duplicates.

The article deals with the sacred vocal work of contemporary Slovak composer and teacher Ľuboš Bernáth. Based on the music-interpretive analysis of Emitte Spiritum tuum (2017) for two sopranos and organ, it demonstrates the possibilities of using the contemporary sacred works in performing arts education.

The topic of migration is closely related to the issue of multiculturalism. Artistic talent depends on the musical environment in which it develops, and on the kind of impulses it can draw from it. The author deals with the migration of jazz, rock and pop artists from the territory of Slovakia in the former Austro-Hungarian Empire, the Czechoslovak Republic, and the Slovak Republic in three historical periods – in the early 20^th century, under the socialist regime, and in the new millennium. She compares the reasons why musicians moved in these periods against the background of cultural and political developments, and evaluates the artists’ relationship to their motherland and to their new country. The author analyzes the multicultural background of selected personalities such as John Dopyera, Diana Krall, Andreas Varady, and Celeste Buckingham. She analyzes the styles in which artists work as a result of the musicians’ multicultural activities. All musicians are characterized by their respect for tradition and musical history.

The study offers a wide view of artistic creation of the Professor Belo Felix, the author of popular songs and children’s songs contained in the current textbooks of music education designated for elementary schools. It analyzes selected choral compositions dedicated to advanced children’s singing choirs, and focuses on nation-wide composed projects and an overview of incidental music by Belo Felix written for professional theatre scenes.

This contribution’s topic revolves around the competencies of musical arts teachers at elementary arts schools. The effort to examine teacher competencies in more than a purely academic manner – in isolation from real instructional context – has resulted in a research design aptly captured by the question: What competences of a musical arts teacher are considered important by instructors of successful young music performers? Using Q-methodology, we analyzed the opinions of fifteen selected instructors. Based on teacher competency spectrum, we designed 85 Q-type postulates which the participants ordered hierarchically, in ascending order, into eleven areas. We consequently conducted a quantitative analysis, calculating the average Q-type point value and the standard deviation. Our analysis yields the following top three Q-types: 1. Having a postive relationship with children; 2. Having the ability to respect a child’s dignity under all circumstances; 3. Having a positive relationship with music and one’s musical instrument – and we argue that these become a musical arts teacher’s creed. We consider our research to be a template or a model for further, analogous and more comprehensive research studies that aim at content optimization as part of teachers’ preparation for their profession.