• 1978 – 1982

    grammar school in Bratislava (mathematics)

  • 1982 – 1986

    State Conservatory in Bratislava (violin, composition)

  • 1986 – 1992

    Academy of Performing Arts in Bratislava (composition with Vladimír Bokes)

  • 1989 – 1992

    teacher of music theory at the State Conservatory in Bratislava

  • 1990 – 1991

    Conservatoire national de région de Boulogne-Billancourt (composition with Pierre Grouvel)

  • 1991

    Conservatoire national supérieur de musique et de danse de Paris (composition with Paul Méfano, electroacoustic music with Laurent Cuniont, Henri Kergomard, Yann Geslin)

  • 1991

    INA-GRM Paris (Atelier de musique informatique with Didier Brisson)

  • 1991 – 1994

    Musa Ludens - ensemble of early music (viola da braccio, rebec)

  • 1992 – 1994

    Slovak Radio, Bratislava (recording supervisor)

  • 1995

    Slovart Music Ltd. (producer, recording supervisor)

  • since 1996

    freelance composer and recording supervisor

  • since 1998

    director of MM-33 publishing and art agency

  • 2006

    foundation of the first Slovak online publishing house of classical music and artistic agency Slovak Music Bridge (together with V. Sirota)

“Betko's musical thinking is inextricably linked to visual perception. Nearly every composition is a mixture of music, stage action, random events and relationships between actors (hidden and also quite obvious) that in a special way blurs the line between superficial reality and stylized ritual. Betkos' compositions aren't interpreted, they will happen. Very important for this author is the actual title of composition, which encrypts its essence. Each piece has, in addition to the title, which is sometimes an open statement and sometimes cryptogram, a conceptual subtitle. Players and actors represent themselves, but also kinds of abstract entities, performing other activities in addition to playing an instrument. Every detail receives a special meaning, for example a musical instrument is once a subject (in classical playing), and sometimes it is an object (if it hangs on the rope in front of the player). If the criterion of the theater event there is a simultaneous course of two factors – the current in the audience and the virtual on the stage – and if we look at the so-called happening as the fusion of art work with reality, with what is here now, then we can place Betkos' compositions somewhere in between these poles. The particular value of this music is an emotional dimension, which is enforced already at the first contact with it despite the overall materiality to depersonalization of the action on the stage. At first sight bizarre situations have the ability to invoke different associations, which may not always be just comical.”


(ZAGAR, Peter: Miloš Betko. In: 100 slovenských skladateľov. Ed. Marián Jurík, Peter Zagar. Bratislava : Národné hudobné centrum, 1998, p. 49.)