The thesis tries, by means of thematically specified
musical-historical and analytical studies, to grasp the chamber
works of Karel Reiner (1910-1979) from 1960s and 1970s. In
this period,  his typical compositional techniques,
synthesising the influences of the music between the world wars
with new elements, took shape. In the analytical part of the
thesis, we attempt to constitute a hermeneutic dialog between
our views and the views of Hába and Reiner. First, we always
try to explain or reconstruct the meaning of the selected
phenomena from the point of view of Alois Hába, then we try to
find the use of them in Karel Reiner's chamber compositions.