“Bokes's work was from the beginning influenced by the poetry of the Second Viennese School, dodecaphony and serialism, as well as post-war avant-garde technologies (Sequenza, 1965; Piano Trio, 1967). Bokes later remained faithful to these rational methods of creating musical material. In searching for his own way he came through polyrhythm and polymeter through aleatoric music, while unifying elements in his compositions became the principles of the golden section, Fibonacci series, which he applied to the horizontal and vertical parameter of a musical work (Nocturne, 1975; The Way of Silence, 1977; Good Day, Mr. Fibonacci, 1977; Concerto for Piano and Orchestra, 1976). He combines absolute control and organization with the principles of aleatory (Lines for 12 Singers, 1978). In doing so confronts the principles of strict organization with random operations. The focus of Bokes's work lies in orchestral and chamber music. His orientation to technologies of avant-garde 'Western music' caused a ban of public performances and radio broadcasting of his compositions in the 1980s."
(GODÁROVÁ, Katarína: Vladimír Bokes. In: 100 slovenských skladateľov. Ed. Marián Jurík, Peter Zagar. Bratislava : Národné hudobné centrum, 1998, p. 51.)