SUMMARY
Not only the means used in music, but the whole complex of music is tied up with a given space and time. That is why we cannot look for a universally comprehensible Esperanto in music as it mirrors a specific response to sound in the ears of individual cultures. Music responds to political power of a Regime with the power of Truth. With its ideology and economic measures, politics makes attempts to subdue music as well. Music is required to behave itself within the framework of the ruling system. Totalitarian regimes in particular approve only what is in agreement with the invariability of the existing, and they support what is created within the frame of what has been firmly established. Such an attitude, however, conflicts with the revivifying search and constant doubt. Also, there is a constant active relationship between the market and music. Despite the attainment of social "independence" of musicians, the society still exerts a crucial influence on the economic position of music and herewith on the response of cultural circles. Societies with developed market economies manage to control the situation with different institutions such as musical journalism with reviews and publicity, and, above all, with mediating managerial interference. The third essential factor is ideology. Music, especially that of the past, can be such a convenient critic of the "surpassed" as well as a herald of the "happy world". This is the factor which determines the role of music in the mind of the general public. it is a matter of serious concern that a general lack of understanding of music in Slovenia may lead to a gradual total void in Slovene musical awareness.