The basis of the method of integral interpretation of a musical work is listening into the work as such, its contemplation, but also looking at it from a few mutually complementary perspectives. Each of these perspectives opens up as a result of the implementation of the four principles. (1) The principle of mutual complementing assumes taking into consideration not only musical linguistics (structure, sound and technique), but also musical poetics (genre, expression, meaning and style). (2) The principle of the ontological fullness says that all the four phases of existence of the musical work should be taken into account: the phase of a creative conception (in which the work exists as a musical text), the phase of an artistic performance (in which the work exists as a sound text), the phase of an aesthetic perception (in which the work exists as an aural text), and the phase of cultural reception (in which the work exists as a symbolic text). (3) The principle of “contextuality” postulates seeing the work in its organic context: biographical, historical and cultural – from origin (absorbed models and inspirations) to the resonance within culture (echoes and influences on other composers). (4) The principle of hierarchization gives weight to value judgement.