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In his study the author observes how several Czech and Slovak musicologists since 1950s paid attention to this distinct phenomenon in Janáček's music, i.e. modality. These are represented maily by Jiří Vysloužil at the prominent Janáček congress in Brno in 1958 and subsequently in the article published by Hudební rozhledy „Modální struktury u Janáčka" (Janáček's Modal Structures), later by Jaroslav Volek and his significant studies „Modalita a flexibilní diatonika u Janáčka a Bartóka" (Modality and Flexible Diatonicism in the Music by Janáček and Bartók) and „Modalita a její formy z hlediska hudební teorie" (Modality and its Forms in the Perspective of Music Theory). Volek was followed by further authors considering modality from the point of view of music theory (Risinger, Smolka, Tichý) and studying modality in the works by Leoš Janáček; also two speakers from abroad should be mentioned: C. L. Firca from Romania and Z. Helman from Poland. Then there are mainly Czech authors who refer to these problems at Janáček congresses in Brno in 1968, 1974, 1978 and then 1988 (that particular year was dedicated to the problems of modality). Also the contribution by Jan Trojan must not be forgotten. He specialized in tonality and harmony in Moravian folksong, i.e. phenomena that Janáček himself studied in his folkloristic treatises and that influenced so strongly his music thinking which tends to be more horizontal, melodic (this relates to the use of modal terrains that resist the hierarchization of individual degrees of the scale). Problems of Janáček's modality were also often discussed at the Ostrava conferences Janáčkiana. It was here that Jaroslav Volek, for instance, presented for the first time his new concept of modality as early as 1978, 1979 and 1981. In the first decades of the 21st century in Ostrava there followed further papers on Janáček's modality, e.g. those by Leoš Faltus (2008), Roman Dykast, Markéta Štefková, Juraj Ruttkay (2010) and Zuzana Martináková (2016). [ABSTRACT FROM AUTHOR]

The problem of transcribing church psaltic music into linear notation became, and still is, the subject of numerous discussions in circles of musicologists throughout the country and beyond. This proves that the problem itself is of particular importance and must be treated as such. [ABSTRACT FROM AUTHOR]

The spiritual musical creativity of Romanian composers in the XX century underwent numerous phases, between zenith and despair, due to social events specific for the whole of south-eastern Europe in the past century. Even though this creativity, in essence, expresses the tradition of the East, endeavouring to avoid any loss of its Byzantine roots, many composers, especially in the second half of the XX century, leave aside the elements of this esthetic and direct its creative focus to new creative tendencies. This work reviews compositions with spiritual themes by XX century Romanian composers, from the first decades, encompassing the years of communistic rule, till the days when it became immersed in a postmodern creative course, and it presents the names of the majority of composers who dedicated their works to the glory of the Almighty, analyzing thoroughly the information found at the Union of Composers and Musicologists of Romania from Bucharest. [ABSTRACT FROM AUTHOR]

Aurel Stroe is one of the most important Romanian composers from the second half of the XXth century, an exceptional complex artist, a complete musician, composer, teacher and musicologist, the composer aware of his responsability, because the authentic art is a consequence of our deepest beliefs. I expose in this work a summary of his main creative paradigms, with examples and applications, making the connection with its musicological text and copncepts, so original and little known. [ABSTRACT FROM AUTHOR]