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Slovenia has had a rich and varied musical histoiy, despite the fact that it was part of the Habsburg Empire and then a constituent part of Yugoslavia. Its recent smooth transition to independence and its realignment with Central Europe have been noteworthy. In the past, Slovene or part-Slovene composers such as Gallus, Tartini and Wolf worked abroad, while in the 20th century composers normally returned to Slovenia after studying abroad. For example, Marij Kogoj and Slavko Osterc studied in Central Europe and maintained a strong musical connection with Central European modernism in the 1920s and 1930s. Kogoj's strong links with Viennese expressionism were well expressed in the opera Črne maskeof 1927, while Osterc's connections with Hindemith, Honegger and others is evident in the opera Krog s kredo and orchestral works such as Mouvement symphonique. On the other hand, Kozina, Arnič and Škerjanc developed a less advanced style and kept less contact with the rest of Europe. The political situation in the 1940s and 1950s made outside travel difficult, changing the situation dramatically. Composers such as Ramovš and Uroš Krek had different experiences: Ramovš managed to study with Frazzi and Casella in Italy, while Krek did not study abroad. Both, however, produced works in a distinctive neo-classical style that typified the immediate post-war period. Ivo Petrić's music follows the styles of Prokofiev and Shostakovich. From the late 1950s onwards the situation changed with strong contacts with Croatia, Poland and countries of the West: France, Germany, the United Kingdom and the United States in particular. This contact encouraged the emergence of a new avant-garde in Slovenia in the 1960s with such composers as Petrić, Ramovš, Lebič, Jež, Božič, Matičič, Globokar, Stibilj and Štuhec coming into prominence. Later they were joined by Pavel Mihelčič and Maks Strmčnik. Matičič and Globokar mostly stayed abroad, while Stibilj returned permanently later. In the decades before and after independence in 1991, a new generation of composers became established, with the most advanced composition by Aldo Kumar, Uroš Rojko, Tomaž Svete, Brina Jež-Brezavšček and Nenad Firšt. Postmodern tendencies are found in the music of Jani Golob and Marko Mihevc. Ali these composers are providing the Slovene musical scene with a wide variety of distinctive music that is both challenging and interesting. ; Slovenija ima bogato in raznoliko zgodovino glasbe, kljub dejstvu, da je bila del habsburškega cesarstva in nato Jugoslavije. Nedavna osamosvojitev in preusmeritev k Srednji Evropi so vredni pozornosti. V preteklosti so slovenski ali delno slovenski skladatelji, kot so bili Gallus, Tartini ali Wolf, delali v tujini, medtem ko so se v 20. stoletju skladatelji po študiju v tujini ponavadi vrnili v Slovenijo. Na primer, Marij Kogoj in Slavko Osterc sta študirala v Srednji Evropi in ohranjala močne glasbene stike s srednjeevropskim modernizmom v 1920 in 1930. Kogojeve močne vezi z dunajskim ekspresionizmom so jasno razvidne iz opere Črne maske(l927), medtem ko so Osterčevi stiki s Hindemithom, Honeggerjem in drugimi vidni v operi Krog s kredo in delih za orkester, kot je Mouvement symphonique. Na drugi stani so Kozina, Arnič in Škrjanc razvili manj napredne sloge in gojili manj stikov z drugimi deli Evrope. Politični položaj v 1940. in 1950. je oteževal pot v tujino in dodobra spremenil situacijo. Skladatelji, kot sta Ramovš in Krek, imajo drugačne izkušnje: Ramovšu je uspelo študirati s Frazzijem in Casello v Italiji, medtem ko Krek ni študiral v tujini. Vendar sta oba ustvarila prepoznavna dela v neoklasicističnem slogu, ki je zaznamoval povojno obdobje. Glasba Iva Petrića sledi slogom Prokofjeva in Šostakoviča. Od poznih 1950. naprej se je položaj močno spremenil s trdnimi stiki s Hrvaško, Poljsko in deželami Zahoda: zlasti Francijo, Nemčijo, Anglijo in Združenimi državami Amerike. Ti stiki so v 1960. spodbudili novo avantgardo v Sloveniji, h kateri sodijo Petrić, Ramovš, Lebič, Jež, Božič, Matičič, Globokar, Stibilj in Štuhec. Kasneje se jima pridružita Pavel Mihelčič in Maks Strmčnik. Matičič in Globokar sta ostala večidel v tujini, medtem ko se je Stibilj kasneje za stalno vrnil v domovino. V desetletjih pred in po osamosvojitvi leta 1991 seje izoblikovala nova generacija skladateljev, z najnaprednejšimi deli izpod peresa Alda Kumarja, Uroša Rojka, Tomaža Sveteta, Brine Jež-Brezavšček in Nenada Firšta. Postmoderne tendence je mogoče najti v delih Janija Goloba in Marka Mihevca. Ti skladatelji prinašajo na slovensko glasbeno sceno bogato vrsto prepoznavnih glasbenih del, ki je izzivalna in zanimiva.