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1969 – 1971
private study of composition (Peter Bartovic)
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1971 – 1975
study of composition (Juraj Pospíšil) and piano playing (Mária Masariková) at the Bratislava Conservatory
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1973 – 1980
music gatherings in the house of Ján Albrecht
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1975 – 1980
study of composition (Dezider Kardoš) at the Academy of Performing Arts in Bratislava
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1979 – 1988
editor of the music books department of the OPUS publishing house
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1984
member of the Union of Slovak Composers (after 1990 the Association of Slovak Composers as the part of the Slovak Music Union)
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1985 – 1991
visiting lecturer at the Department of composition of the Academy of Performing Arts in Bratislava
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1988 – 1989
a study stay at the Hochschule für Musik und darstellende Kunst in Vienna (Roman Haubenstock-Ramati)
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1988 – 1992
postgraduate course at the Institute of Musicology of the Slovak Academy of Sciences
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January 1990
chairman of the Association of Slovak Composers
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June 1993
a defense of the doctoral thesis Battaglia and Mimesis
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1991 – 1996
senior editor of the Slovak Music quarterly
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1992 – 1996
research fellow at the Institute of Musicology of the Slovak Academy of Sciences
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1993 – 1994
composer-in-residence at the Slovak Philharmonic
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since 1997
lecturer at the Department of Aesthetics of the Faculty of Philosophy of the Comenius University (history of aesthetics, history of music)
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1997 – 1999
head of the Publishing Department of the National Music Centre
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since 1999
director of the publishing department Scriptorium musicum
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2001 – 2007
pedagogue of composition at the Academy of Arts in Banská Bystrica
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since 2008
president of the Committee of the Bratislava Music Festival
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2008 – 2009
chairman of the Association of Slovak Composers
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2009
establishment of the association Albrechtina
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2011 – 2012
lecturer at the Department of Composition and Conducting at the Academy of Performing Arts in Bratislava
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2013 – 2015
associate professor at the Department of Composition and Conducting at the Academy of Performing Arts in Bratislava
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since 2017
head of the Publishing Department of the Music Centre Slovakia
“Godár's music brought in the early 1980s in Slovak context new “arguments” – the new postulation of musical time, a new attitude to the past, consisting in the adoption of historical formal concepts (passacaglia, concerto grosso, partita) and the new form of consequent serial thinking, where there is a crossroads of vertical (the principle of tonal center), linear (canonical principle) and sonic (cluster). These new stimuli were perceived as an entrance for a new generation of composers (M. Burlas, I. Szeghy, P. Breiner and others) as well as an aesthetic revolt against the “official” music of the 1970s and also against the persisting heritage of New Music. In a broader context, however, they were associated with deeper resources of European music manifesting in parallel in work of A. Schnittke, H. M. Górecki, G. Kancheli etc. Godár's compositions can be characterized by a combination of two fundamental assumptions: relatively short, terse motivic shapes, and dimensional space, on which shapes are implemented. In contrast to the minimalist approach, however, Godár's musical time goes in phases, it is warped by significant changes of compositional structure related with maximal dynamic contrast (Talizman, Sekvencia; Grave). At the turn of the 1980s and 1990s Godár emphasized coupling with historical periods, which manifested mostly in an associative level (Emmeleia; Barkarola; Déploration; Via lucis), and sometimes even in the very musical process (Ecce puer). The way in which Godár's music resonates in the Slovak movies deserves special attention (Neha / Tenderness; Všetko čo mám rád / Everything I Love; Cudzinci / Aliens; Záhrada / Garden; Orbis Pictus) shedding a new light on the question of the social isolation of the contemporary composer.”
(ZAGAR, Peter: Vladimír Godár. In: 100 slovenských skladateľov. Ed. Marián Jurík, Peter Zagar. Bratislava : Národné hudobné centrum, 1998, p. 105 – 106.)