“Burlas entered the music scene in 1957, when as a theorist and publicist he gave expression to the spontaneous orientation of his compositional generation (a polemic against the orientation of the generation of A. Moyzes) to the modern trends of European music. In addition to the theory and history of music he also dealt with the latest compositional directions, about which he published mainly in the 1960s (especially in the magazine Slovak Music). In addition to its impact on domestic chromatic tradition and modal expanded tonality, highlighted by sublimated elements of Slovak folk music (Symphonic Triptych, Spievajúce srdce / Singing Heart), his work reveals a tendency to primarily linear guidance of voices and delight in finding new options in sonority (Metamorfózy krás / Metamorphoses of Beauties). Inspiration by the work of B. Bartók and stimuli of techniques of New Music led his masterpieces to a special manner of organization of tonal material: modal structures connected with clusters (Planctus) and with elements of twelve-tone techniques. It also emphasizes his tendency toward meditativeness, strongly suggested in works for string instruments (Concert Sonata, 3rd String Quartet), and later with an added penchant for nostalgic retrospect (Poetic Music, Stretnúť človeka / To Meet a Man).”
(ZVARA, Vladimír: Ladislav Burlas. In: 100 slovenských skladateľov. Ed. Marián Jurík, Peter Zagar. Bratislava : Národné hudobné centrum, 1998, p. 59.)
Musicological activities of L. Burlas include works focused on older and newer Slovak music history, music theory problems, systematic musicology disciplines, issues of genesis of Slovak national music, and the compositional style of representatives of Slovak musical modernism (Alexander Moyzes, Eugen Suchoň, Ján Cikker and others). He is the author of over 150 musicological works, monographs, studies, academic texts, articles, reflections and profiles.