This thesis presents research about the very successful career of the Czech musician and pedagogue Milan Kostohryz (1911-1998). He made a substantial contribution to composition of new pieces, re-building historical instruments, developing new instruments, revising many old compositions, and he gave instruction to a number of excellent players. His work made impact and gained recognition on an international level. The research in this thesis is based mainly on original written correspondence, and partially on personal memories of his contemporaries and family, as well as on a few public resources and preserved sound recordings.

My doctoral thesis "Viktor Kalabis and his production for clarinet focusing chamber music" concentrates on the composer´s chamber pieces for clarinet and other instruments. Overall, I shall be writing about two pieces written during his student years (Suite for clarinet and piano, Sonata for clarinet and piano) and about five pieces with opus numbering (Divertimento for woodwind quintet op. 10, Small Chamber music for woodwind quintet op. 27, Sonata for clarinet and piano op. 30, Suite for clarinet and piano op. 55, Impressions for two clarinets op. 87). The first chapter of the thesis deals with the composer´s musical inspirations. I speak about the development of Kalabis´composing style and I write about his perception of the individual instruments. The next part deals with the interpreter´s perspective describing how to perform these compositions. My thesis is divided into chapters dealing with the individual pieces written by Viktor Kalabis. In each chapter I speak the circumstances of origin, musical form and my experience with performing these compositions. I offer different opinions for practice and interpretation. In the course of several years, I cooperated with amazing musicians like, for example, Daniel Wiesner (piano), Jana Jarkovská, Daniel Havel (flute), Jana Kopicová (oboe), Adéla Tribeneklová, Jan Musil (horn, Jana Hudeček (bassoon) and lots of interesting musical ideas came to existence during our cooperation. I compare my findings with other recordings, analyzing their approach and their realizations. This thesis also includes a recording of two pieces without opus numbers, wich became the first recording of these pieces ever.

The aim of my thesis is an introduction to the world of Slovak composers, clarifying the problematics of the period in which they composed and listing the most played and most important works by Slovak composers composed for clarinet. As an example, I analysed the Small Slovak Rhapsody by Juraj Filas. This work contains many elements typical for Slovak modernism. In the next section I focus on the Slovak Clarinet school, its development and the most important representatives in the educational and interperatational sphere.

My thesis deals with the problem of teaching clarinet playing. It examines psychological aspects of pupil?s and teacher?s personality and methodological rules at different levels of education. Includes the practise in playing the preparatory instruments (recorder, chalumeau, clarinéo) through basic music education, studying at the conservatory, to the academic study. The main part of the thesis is a chapter that describes the various ways of teaching - not only with future professionals but also concerns education of amateur musicians and popularizing classical music through modern teaching materials (interactive textbooks, internet, workshops).

The introduction is justified by the choice of thesis topic. The aim is to present chamber music for voice, clarinet and piano and additional chapter to present works for voice, clarinet, piano and other instruments. The work consists of an introduction, main chapters, additional chapters and the conclusion. This work formed a brief overview of chamber works and their authors that were written in a composition for voice, clarinet and piano. There are some plot mentioned songs. The main chapters are listed: 1. soprano, mezzo-soprano, alto, tenor, baritone, bass, and their various combinations, 2. clarinet in B and in A, basset horn, bass clarinet. 3. piano. The additional chapters are used other tools such as strings, woodwinds, percussion, narrator, actor, electro-acoustic instruments. In the end, I evaluate my work and I thought of her course. Trying to convince readers and audiences.

In this dissertation thesis I focus on the overview of some outstanding international clarinet competitions, their repertory, and compositions written to order for the given competition. The itemization of compositions I enriched by the characteristics and analysis of some compositions focused on the difficulty and appearance of contemporary clarinet techniques. Last but not last, I write about the establishment, history, and point of each competition and their contribution to young talented musicians.

My thesis "Sonata for clarinet and piano by Viktor Kalabis" is focused on one of concertantes pieces for clarinet and piano by Viktor Kalabis . The first part of the thesis deals with the life experience of the composer; the second part comprises an attempt to reflect the interpreter's perspective and expound interpretation issues. The author's experience with performing the sonata is described. The most difficult sections are explained and interpretation and practice options offered. The author's recording (2014 - J. Černohouzová, D. Wiesner) is compared with two other recordings (1970 - J. Štengl, Z. Zichová, 2013 - J.Hlaváč, I. Kahánek). The approaches of the interpreters and their performance style is analysed. The composer-interpreter relationship is discussed.

Contemporary music for clarinet is today often part of a clarinettists repertoire and contemporary compositions are normally included in compulsory repertoire of world competitions. For every player is necessary to know about contemporary music and have an informations about modern techniques which offer clarinet sound. This thesis deals with contemporary efects in theoretical and practical point of view. In the same time explores influence of contemporary music over the young clarinet players and describes their succes in create these techniques. This work also follow up three solo pieces for clarinet: Jörg Widmann - Fantasie, Slavomír Hořínka - Ruáh, Tiberiu Oláh - Sonata. There is a theoretical and practical preview about these compositions and also their influence on audience. One chapter is devoted to personality of clarinettist Karel Dohnal, pathfinder for contemporary clarinet music.

This thesis deals with using general methodical principles while teaching to play the clarinet and to sing particular compositions – the song cycle by Louis Spohr “Sechs deustsche Lieder fur eine Singstimme, Klarinette und Klavier op. 103“ and the song by Franz Schubert “Der Hirt auf dem Felsen D (965)“. The work is divided into five chapters. The first chapter briefly mentions the historical background of birth of the compositions with a special regard to the changes in the musical life in the 19th century and the personal lives of both composers. The second chapter, Personality of the performer, observes important aspects which no performer should ever forget about while studying a chamber piece of work, such as mental preparation, the issue of memory, but also the right choice of repertoire with respect to the characteristics of the soprano voice, for which both compositions were written. Other aspects include posture on the stage, breath support, intonation, sound consistence and making use of all the aspects while performing the song by F. Schubert as well as the song cycle by L. Spohr. Other two chapters are dedicated to both compositions, the third being focused on L. Spohr´s “Sechs deustsche Lieder fur eine Singstimme, Klarinette und Klavier op. 103“ and the fourth focusing on Franz Schubert´s “Der Hirt auf dem Felsen D (965)“. The circumstan-ces of birth of both compositions are described, loose translation of the texts is provided as well as performer´s experience with the particular songs. The last (fifth) chapter, Historical faithfulness of interpretation, is a short contemplation over the fact to what extent a performer is able to depict the original idea of the author by means of contemporary technical possibilities. The thesis describes personal opinions, experience, feelings and problems which its writer encountered while studying the clarinet and singing parts of the compositions.

My diploma thesis is called Main repertoire for the trio clarinet, cello and piano. The work is devided to three chapters. The first one is called History and present of the trio clarinet, cello and piano. In this chapter are three independent subchapters. The first is about historical development of these instruments. In the seconde is written something about repertoire options for this group and the third one is about tree well-known groups. The seconde chapter is about the main tema and there is written about the most played and well-known compositions for this ensemble. There is usually written something short about life of the composer and then formal analysis of every piece. The main compositions are written in this order: Archduke of Austria and The Trio for clarinet, cello and piano, Johannes Brahms and The trio a minor op. 114, Max Bruch and Eight pieces op. 83, Vincent d´Indy and The trio B flat major op. 29, Anton Eberl and Grand trio op. 36, Michail Ivanovič Glinka and The trio Pathétique, Emil Hartmann and Serenada op. 24, Adalbert Gyrowetz and The Trio op. 38, Robert Kahn and Serenada op. 73 a Alexandr Zemlinsky and The trio d minor op. 3. The last chapter is only about The trio B flat major of Ludwig van Beethoven. In three short subchapters is written something about his life, formal analysis and creation of the composition and analysis of interpretation of two records.