Skoryk was exposed to music in the household from an early age, and his great aunt was the Ukrainian soprano Solomiya Krushelnytska.

[2] Skoryk's final exam piece was Vesna ('Spring'), a cantata for soloists, mixed choir and orchestra that was based on verses by the Ukrainian writer Ivan Franko.

Skoryk's book Struktura i vyrazhalna pryroda akordyky v muzitsi XX stolitti (The Structural Aspects of Chords in 20th Century Music) was published in 1983.

His works have been performed by ensembles and soloists that include the Leontovych Quartet,[9] Oleh Krysa, Volodymyr Vynnytsky, Oleg Chmyr, Mykola Suk, Victor Markiw, and Alexander Slobodyanik.

[10] In addition to the works listed below, he also wrote a number of smaller ensemble works, songs, and the score for more than 40 films, including Tini zabutykh predkiv (Shadows of Forgotten Ancestors),[4] and Vysokyy pereval [uk] (High Mountain Pass), which included his Melody in A minor.

[11] Skoryk moved towards composing religious music at the end of the 20th century, these compositions include his spiritual concerto Requiem (1999); Psalms for various types of choirs (1999–2005); and the Liturgy of St. John Chrysostom (2005).

According to the Ukrainian musicologist Liubov Kyianovska [uk], who has written a biography of Skoryk, his spiritual compositions were "not a tribute to fashion", but "a quite natural consequence of long internal work" and the "resolution of the long process of the composer's creative evolution", and that the Liturgy is stylistically sensitive to the traditions of Ukrainian religious music.

The opera, which was premiered during the visit by Pope John Paul II to Ukraine in 2001, is based on a 1905 poem by Ivan Franko, which focuses upon Moses's struggles to lead his people into the Promised Land at the very end of his life; the text draws parallels between the sufferings of the Israelites and those of the people of Ukraine under the Soviets.