As Koželuch rather wryly observed in his remarks to Brixi about perpections of high and low music, it seems that the rustic style was not far beneath the surface of at least some works for rather elevated contexts. In some cases these rustic influences are merely a constituent part of the experiences gained in rural towns and schools, and in other cases they are more consciously employed to evoke the music of rural Bohemia and Moravia. The musical evocation of rustic life ranged from the use of certain textures and harmonic and melodic idioms to outright quotations of popular (or ‘folk’) songs or to bring to mind particular regional traits. It would seem that, in some cases, Koželuch was scarcely exaggerating.

In one example by Jan Zach a number of the characteristics that had dominated Czech music since the seventeenth century (and probably earlier) are made clear when comparing the blacksmith's drinking song (Example 36) with the final movement of one of his sinfonias (Example 37). In his pioneering study on Zach, Karl Komma has pointed out the influence of folksong and other rustic idioms on Zach's musical style. The clarity and simplicity of the organisation of Czech popular songs suited the galant taste and Zach often employed a motivic organisation of his melodies that is typical of central-European Slavonic song. This can been seen in features such as the AABA motivic organisation of melodic form and the frequent use of the bass in a rhythmic and harmonic, rather than contrapuntal, role.