• 1951 – 1953

    personal studies of music at Alexander Albrecht‘s

  • 1953 – 1958

    the Conservatory in Bratislava (composition – Andrej Očenáš, conducting – Kornel Schimpl)

  • 1958 – 1962

    Academy of Performing Arts in Bratislava (composition – Alexander Moyzes)

  • 1959 – 1962

    the director of programming at the Czechoslovak Television in Bratislava

  • 1962 – 1997

    a teacher of the theory of music and composition at the Department of Music Theory and Department of Composition and Conducting, Academy of Performing Arts in Bratislava

  • 1968 – 1970

    co-organizer of workshops for contemporary music in Smolenice

  • 1984 – 1994

    the head of the Department of Music Theory, Academy of Performing Arts in Bratislava

  • 1990

    appointed as a Professor

  • 1994 – 1996

    the rector of the Academy of Performing Arts in Bratislava

  • 2003 – 2005

    head of the Department of Music Education, Faculty of Education, Constantine the Philosopher University in Nitra

"Parík’s work initially reveals influences from Debussy, Hindemith and Bartók. His composition, however, is dominated by an introverted personal expression which combines with the technologies of the postwar avantgarde. During the formative period of his personal musical language Parík linked himself above all with the achievements of the Second Vienna School, especially with the heritage of A. Webern, whose concentration on finely-worked detail was close to his heart. This style is characterised by economy of the means employed, a fragile and imaginative construction, transparency of sound, emphasis on sonic quality and expressiveness (Two Songs to Poems by Ancient Japanese Poets; Sonata for Flute; Songs on a Falling Leaf; Music for Three; Sonata for Cello). From the second half of the 1960s (perhaps under the influence of visual art) Parík laid still more emphasis on the sonic elements, structuring the detail and at the same time reinforcing the wholeness of the composition (Music for a Ballet; Fragments). This need led him to the Experiental Studio, where he created an entire series of pieces which today are foundational works of Slovak electro-acoustic music (Homage to William Croft; Variations on Paintings by Miloš Urbásek; Music for an Exhibition Launch II; In Memoriam Ockeghem; Homage to Hummel). In these pieces he embodied the idea of confrontation of historical music with electro-acoustic technologies (W. Croft, J. Ockeghem, J. N. Hummel). Parík’s composition shows a preference for chamber instrumental groupings (Music for Miloš Urbásek; Letters; Meditation...) while also, however, making use of the human voice in song or recitation (Seen Close-up Above the Lake; How to Drink from a Well). Nor does he fight shy of orchestral instrumentation (Musica pastoralis; Music for Flute, Viola and Orchestra; Two Arias to Fragments of the Text of Stabat mater). Parík has created music for numerous theatre productions and films. He has also engaged in theoretical activity (with B. Režuch he has co-authored the work How to Read a Score)."

(GODÁROVÁ, Katarína: Ivan Parík. In: A Hundred Slovak Composers. Eds. Marián Jurík, Peter Zagar. Bratislava : National Music Centre Slovakia, 1998, p. 223.)