The first part of the paper Music in Drama Theatre empirically examines the status of music on a sample of more than a hundred programmes of drama performances in the repertoire of Zagreb theatres in the 2023/2024 season as an introduction to the clarification of some basic terms relevant to understanding the "complex and controversial relationship" between music and theatre. Starting from the empirical findings, four approaches have been identified that have been marked and described as four theatrical musical artistic characters: (1) Theatrical music as a musical genre, (2) Theatrical music as incidental music, (3) Theatrical music as a mastery of tone, and (4) Theatrical music as sound design. The second part of the paper presents six examples of student music theatre works with a (self)critical review of their conceptual and practical achievements. Examples are grouped according to collaborations with directors or professors under whose mentorship the following were realized: (1) with Prof. Krešimir Dolenčić (A Brief History of Ros and Guil and Don Juan Returns from the War); (2) with Prof. Borna Baletić (Dance of the Dead and Superposition) and (3) with Miran Kurspahić (Trending and King Ubu). The examples are accompanied by two relevant experiences of cooperation with RadioTheatre (the plays Ubu Ovo Ono and Hoerspiel). In the concluding part of the paper, the concept of musicality is presented for the understanding of music in dramatic theater, which most comprehensively enters the essence of the "complexity and contentiousness" of the relationship between music and theater as a guideline for further reflections, but also practical work in this field.