Intermediality is a very old artistic practice. It is remarkable and interesting since the attractions among the media are in a state of constant flux. As a rule, the outcome is highly creative and complex artistic output, the most outstanding being that which involves music. In this context, music and literature are unparalleled, in their scope as well as variety. The music discourse in Croatian literature is quite a rare phenomenon although certainly present, but compared to the European it is indeed a modest one. This is why the research of music in the works of Milutin Cihlar Nehajev (1880- 1931) and Nedjeljko Fabrio (193 7) serves the purpose of filling in the gaps in the area of intermediality in Croatia. Through writing their mus1c critiques / chronicles, Nehajev and Fabrio continued the tradition initiated by August Šenoa. It is their discourse of music critique and music chronicles that make up the central topic of this thesis, which deals with literary - strategic planes on one hand, and music- historic ones on the other. The mentioned music discourses are found in the following publications: Nehajevs's critical reviews in Croatian language from Jutarnji List (he wrote reviews in German as well) and Fabrio's chronicles from the Republika magazine, published later under the title Maestro and his Apprentice. Throughout the texts of reviews and chronicles the intermediality of the telling form is evident, which means that these are the texts where through description, the image of the musical piece is fixed as well as its destiny, determined by the current system of social values. However, in his chronicles Nedjeljko Fabrio went even further. He monitored the reception of music in the Croatian publications and was especially concemed with the recepti on of Croatian writers by analysing the music discourses in their work. This is why the music chronicles Maestro and his Apprentice are presented as an intertextually (quotation) complex patchwork. Since what we are dealing with here isa verbal-music discourse stemming from the writer's pen, the critical opinion which presupposes expertise in music has given way to discourse that presents itself as a testimony of a certain way of perceiving and imagining of the reality. The distinction of boundaries of the critical and musical profile of Nehajev and Fabrio confirm the heuristic character of the verbal - musical discourse. In this sense, their musical reviews and chronicles go their separate ways to reach the point where the paths of imagination and logical modelling of various causalities characteristic for the very musical work cross over. Keeping in mind that every critical method bas some weaknesses, i.e. the limitations or inability to create new notions and vocabulary, this work presents the results of the research of means and ways of the existing verbal interpretation of music. It is certain that in this sense, music discourses of Nehajev and Fabrio bring a novelty that equals artistic creation, or actually the imagination, which has always been an interesting productive reduction. The thesis establishes the fact that in the artistic discourses of the two authors, in their novels, stories, plays etc. there is no significant intermedial crossover. The only exception is Fabrio's novel Berenice' hair, whose subtitle, the familienfuge implies a musical form. This intermediality of the showing mode is a special and rare case in the Croatian literary practice.