Genre research is not a solely autonomous musical problem, because the genre is not a limited special musical category. It is a sort of complementary research, which has to include socio-cultural, functional and textual-poetical aspects. They were realized in such concepts in the genres, including research in Slovakia, only in a very restricted manner. They have to recognize three different levels, which are interwoven, interacting, but connected also with special processes of their own. It is very difficult to analyze and document this interrelationship. That is the reason, why we must cross over investigating a single melody a musical item and to use comparative methods in grasping the circle of the whole type and system of genres. Moreover the single genres are not isolated from each other. They enter into the singing practice, into interpretation, into the regional, local and individual performances in manifold connections and relations. Especially when we have alike types of genres, when similar common functions are shared by other genres interfering in their musical use and meaning. The aspect of genres is only one perspective, directed to the function of music. As far as the others, the poetical, the musical and functional have their inherent development, their history and meaning, we have to take into account their autonomous as well as interconnected structure. This can be in its configuration very much differentiated, according to the specific genre, the ethnic, national, regional and local context. The genre is a phenomenon, which exceed the song categories and enter into important relations with dance and instrumental music. In this meaning genre is a live related category, with intersectional character, including musical, poetical and functional, and many other processes, which in the end create the specific character of a genre. In a graphical display are demonstrated the interrelations among the single components characterizing music, genres, and social strata of music and many other aspects. It is not only ethnomusicology to be aware of these features, expressed in the configuration of variable and invariable elements, but also musicology in general, to apply the appropriate methods in the analytical procedures.