This paper discusses the various relationships of the word (or literature) and music, their functions and the meanings they produce, found in the collection of Kostas Ostrauskas’s works, "Paskutinis kvartetas" (The Last Quartet, 2014). Using the ideas of Steven Paul Scher and Werner Wolf, the possibilities of applying verbal and music studies, on the one hand, and intermediality studies, on the other, to the analysis of the relationships between the word and music in literature, are examined. Aiming to find a productive approach to study these relationships in a work of drama, the theoretical problematics of dramatic and musical texts and their performance is considered in the context of John L. Styan’s, José Ortega y Gasset’s and Anne Ubersfeld’s writings. The discussion mainly focuses on the impact, forms and functions of the scores in Kostas Ostrauskas’s "Penktoji" (The Fifth) and "Varnėnas arba Koncertas fortepijonui G-dur, K. 453" (The Starling, or Piano Concerto in G-flat, K. 453). The analysis shows that the scores, inserted into verbal texts, are capable of taking over features of dramatic works, providing explanations for the text’s titles, becoming instructions for performers or the characters’ lines and / or actions, expressing subjectivity and objectivity, revealing the relationships between characters as well as constructing a specific relationship between the reader and the text. The reader of Ostrauskas’s works, engaged by and engaging in the play of verbal and musical combinations, in a sense also becomes the text’s performer
