The composer's individual style - as demonstrated by Leonard B. Meyer - is the result of the selection of specific musical means made by the creator in the process of creating musical works. According to Meyer, style is determined not only by technical and formal means, but also by what was to be conveyed and expressed through these means. For a researcher of musical work who wants to determine the specificity of a given compositional idiom, it is important to isolate those style factors that appear to be constitutive of a given work, thus determining its uniqueness and the artistic identity of the creator. The principles organizing the matter of a musical work, which in such a case focus the researcher's attention, are most often tonal and harmonic means, textures and compositional techniques, metro-rhythmic means, and form. Narrative discourses - as contemporary analyzes of musical works have shown - turn out to be as important a factor in the intra-opus style of a given composition as the traditional elements of a musical work. Moreover, in contemporary works, the form of which is shaped according to individual composer's ideas, narrative strategies allow revealing the musical meaning of new sound orders, their ideological foundations and the evolution of the composer's style and aesthetics. In the article I propose, arguments confirming the above thesis are provided by analyzes of solo concerts by Polish contemporary composers, including: Witold Lutosławski, Krzysztof Penderecki, Zygmunt Krauze.