Práce se zabývá tvorbou Zdeňka Lukáše (1928?2007), která byla realizována v letech 1968?1972 v elektroakustickém studiu v Plzni. Zásadní vliv na kompoziční činnost Z. Lukáše mělo jeho setkání a následné pravidelné konzultace s Miloslavem Kabeláčem v šedesátých letech dvacátého století. Po absolvování jednoletého kurzu se Z. Lukáš věnoval v letech 1968?1972 tvorbě elektroakustických skladeb v nově vybudovaném experimentálním studiu v Plzni. Za tuto dobu realizoval celkem pět skladeb: Arcecona 68, Ecce quomodo moritur justus, Nezabiješ, Vivat iuventus!, Concerto grosso II, Jejich analýzu předkládáme v naší práci.The thesis is dealing with the work of Zdeněk Lukáš (21. 8. 1928 ? 13. 7. 2007). His work was realized in the years 1968?1972 at the electro-accoustic studio in Plzeň. Meeting and regular consultations with Miloslav Kabeláč (1. 8. 1908 ? 17. 9. 1979) during the 1960s had the principal influence on compositions of Z. Lukáš. M. Kabeláč belonged to the first propagators of the electro-accoustic music in the Czech milieu and Z. Lukáš was introduced to the electro-accoustic music by him. After finishing of an one-year course Z. Lukáš was dealing with making of electro-accoustic compositions at the new established experimental studio in Plzeň during the years 1968?1972. In a cooperation with technician Václav Ježek (born 16. 6. 1964) Lukáš realized five compositions: Arcecona 68 (1968), Ecce quomodo moritur justus, op. 63 (1969), Nezabiješ (Thou Shalt Not Kill), oratorio to libretto Zdeněk Barborka supplemented by the live performance of five soloists (flute, clarinet, trumpet, viola and percussion) and speaker, op. 76 (1972), Vivat iuventus!, cycle for mixed choir, solos and stereophonic tape, op. 86 (1972) and Concerto grosso II, for flute, violin, symphony orchestra and stereophonic tape, op. 87 (1972). The analyses of the compositions are presented in the thesis. For political reasons Zdeněk Lukáš´ access to the studio was denied and he didn´t continue in the electro-accoustic production anymore.