The goal of the study has been to point to the importance of music composition technique in the process of music composition teaching and to answer the question how to teach music composition in the present Slovak music composition school. The music educational institute has to offer reliable rational foundations to its graduate, which help him to solve any compositional problems on his own in the future. While teaching music composition it is necessary to differentiate between the devices which embody the deviation from the rule and devices which are based on generally valid principles. We also deal with the frequently posed question whether a student in his education should go through all historical development of music or not. One of the most important problems present in the teaching of music composition is to find the suitable approach to contemporary composition trends. Though the experiment has its significance, the respect to tradition has to be maintained, too. The music composition teacher is obliged to take a stand on student’s errouneous endeavours in non-traditional compositional manifestations, and to choose the appropriate method leading to the remedy. The main goal of the music composition teaching is to help the young composer to transit smoothly from the study to the compositional practice itself.

The study offers the survey of Ján Levoslav Bella’s chamber music for the line-up of the string quartet and string quintet. It gives basic information regarding the preserved compositions, correcting erroneous – though widely spread – facts with the goal to rectify the distorted view on the creation of our best romantic composer. On the basis of the summarized knowledge we can unequivocally confirm that even with his chamber music Bella ranked among the top composing exponents of his time, not only in domestic context. The first part of the study presents three quartet compositions, in the next part of the work the survey will be supplemented with remaining quartets and the only string quintet. The presented knowledge resulted from the work of the author-editor on the collective critical works of Bella’s chamber music.

The origins of teaching accordion in Slovakia can be traced to 1950s when the systematic artistic education became to crystallize through nationalization of municipal music institutes. On the elementary grade of artistic education accordion belonged to the first taught instruments. While elementary schools started to be established almost in any bigger city, the secondary music education was offered only by three institutions in Bratislava, Žilina and Košice. They acquired the status of conservatory in 1960. The important milestone in the history of accordion teaching was the year 1971, when Marta Szőkeová became to teach accordion playing at the Academy of Performing Arts. The widening of the study possibilities was brought by the change of the political regime after 1989, and origination of new schools – conservatories, and also universities. The history of accordion teaching would not be possible without some distinct teachers who brought up not only concert artists, but also teachers. They applied the latest knowledge regarding the methodical teaching of accordion in their practice. In Slovakia the most significant personalities were Marta Szökeová, Milan Seidl, Miroslav Košnár, Agnesa Čuchranová and Vladimír Čuchran.

The Forum Theatre is a world-wide technique rooting in 1960s. Not only it appears as an important communication means between actors and spectators; it offers them also a possibility for their self-realization. Enabling them to enter the presented situation and deal with the posed problem it compels them to think critically, and to a certain extent determines their values and attitudes.

In the scope of the realized research we use also a musical component in the Forum Theatre technique. This – as we have realized – has a consequential function in the final project. It becomes a means for finalization of situations in the performed story and a support of the given atmosphere. At the same time it widens the listener’s range of patients in several music styles. The presence of music in the Forum Theatre technique offers the patients’ the opportunity to join musical features of the listened piece and its content with a particular situation and story. Presently we lack any information about the similar connection of Forum Theatre and music in Slovakia, especially while working with drug abuse clients.

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