We are currently witnessing revolutionary changes in the compositional process when the composer abandons traditional process of composing “with paper and pencil”, he/she does not only rely on random invention, but he/she uses sophisticated possibilities enabled by computer. Musical practice pushes them into commercial situations, when composition has to be made to order. He/she has to adapt to the conditions. It has major influences on changing the genres as in classical music, jazz and rock as well. The original ideas about the way and method of composition were also changed under the influence of new conditions.

The submitted study examines, from both the quantitative and qualitative aspects, the manifestations of polystylism in the compositional work of the composer, pianist and mathematician Miro Bázlik, whose model approach is represented by the composition of polystylistic music works. In the creative legacy of the composer the polystylistic technique appears in specifically appropriative quotations, adaptations, auto-quotations, allusions and sporadically the composer uses also the technique of the so-called “composition masque”. Polystylistic music poetics springs from Bázlik’s relationship towards the past and often semantically refers to various meanings. In the study the constitutive determinants of the composer’s work are analysed, as well as the demonstrations of polystylism in his piano, vocal-instrumental, concertante, orchestral and electronic compositions.

The goal of the presented study is to introduce the hitherto little researched piano work of the Slovak composer Alexander Moyzes (1906–1984). In the work of this composer, teacher and publicist, we can find smaller piano pieces as well as sonatas. It is especially the Sonata in E minor, Op. 2 for piano, which forms an important milestone in Moyzes’ piano work, as from the compositional point of view it is a mature opus of the composer, while at the same time it reflects the inventiveness of his study beginnings at the Prague Conservatory (the piece resulted from the elaboration of several cyclical works during the years 1926–1942). Its rich source background deposited mostly in the Music Department of the Slovak National Museum enables us to present the piano work in detail, which we accomplished in this study: we presented the condition of the research of sources and music literature of the whole piano work of Alexander Moyzes, while we learned that it is necessary to attract the attention of musicologists to the study of some questionable aspects of Moyzes’ piano work (terminology, dates of the origination of pieces, unsatisfactory description of the piano work, absence of a relevant register of the same). Due to the resctricted scope of the study we focused more profoundly on one of the aspects: the register of the complete piano work of Alexander Moyzes. It was compiled on the basis of a thorough critical elaboration of music literature and sources, which is illustrated also in a table. We hope we have specified several questionable claims and pointed to further unexplored aspects of Alexander Moyzes’ piano work.

The contribution offers a comprehensive view on the publicistic-critical heritage of Juraj Pospíšil (1931–2007), the member of the so-called Slovak music avant-garde, who belonged to distinctive versatile representatives of the Slovak music. In the Slovak musicological literature the reflection of the work of the personages is missing, who not only affected the development of compositional work in the previous century, but also developed an initiative in other realms of music profession, and their life work is already closed. Pospíšil’s legacy should not have been forgotten, because it helps to form a more precise image about the quality and development of the Slovak music in the second half of the 20th century

From his young years Georgius Tranoscius (1592–1637) was active in the fields of literature, music, and theology. We have written evidence about Tranoscius’ composition of sacred songs and Latin odes from an early period of his life. His collection of odes Odarum Sacrarum Sive Hymnorum was very probably coming into existence continuously in the course of his life. Horace’s antique odes served him as text models. The chants are worked out in homophonic texture. Tranoscius is the most prolific author of sacred songs in the then Central-European Slavic environment. For the determination of the date of the hymnal Cithara Sanctorum’s origination it is necessary to take into consideration also secondary sources; it was presumably compiled in the period 1620–1636. The influence of the Bible of Kralice is also apparent. Besides bibles Tranoscius was educated also on Luther’s treatises. Regarding the melodies in the hymnal Tranoscius very probably copied them from a template, however, no particular hymnbook is mentioned by him as a model.