The idea behind this thesis is the interest in music, composers, and art in the area around Istria in the 21st century. Due to the desire to perform piano compositions by composers from the area where the author of the work grew up, four Istrian composers were chosen to be written about in the work. The diversity in musical expression among the composers was crucial to convey the musical diversity and breadth of musicians around Istria. Each composition has its own specific characteristics that are extremely interesting, while the points of contact are the composers who all live and work in Istria, and the Istrian tonal sequence that connects the three compositions: Brioni u magli (Brioni in the Fog), Istarska polka (Istrian polka) and Tri Jelina Sna (Three Jela’s Dreams). The composers were available and very happy to give an interview and attached numerous materials that helped in writing this work. Each composer has a different perception in the creation of a piece of music, which we can see in the selected compositions. Massimo Brajković uses the Istrian tonal sequence as a link between different parts of the composition Brioni u magli, while Đeni Dekleva-Radaković uses the Istrian tonal sequence as the main material for her work Istarska polka. Composer Elda Krajcar-Percan uses the Istrian tonal sequence as the main motif for the second movement of her composition Tri Jelina Sna, and Branko Okmaca does not use the Istrian tonal sequence in his composition Intermezzo 2, but we find it in many of his other works. In the short analysis of the compositions found in the thesis, we can see that the composers belong to a new generation of composers, that their compositions are written in free form, and that the composers use techniques that are characteristic of the 20th and 21st centuries, such as "hitting the piano lid" and similar. The historical and folklore heritage of Istria certainly left its mark on composers who embraced the Istrian scale and are very happy to write compositions using it. We can see that their experience and perception of music was largely formed thanks to the Istrian tonal sequence, for which we can be grateful to Ivan Matetić Ronjgov.