Tato práce je věnována levorukosti hudebníků, zejména žáků hudebních škol, a to z pohledu učitele hudby. Práce je rozdělena do tří základních kapitol. V první kapitole nazvané "Levorukost obecně" je vysvětlen pojem lateralita, dále se zde píše teoreticky o příčinách a formách levorukosti. Jsou zde i citovány různé teorie a hypotézy o vzniku laterality z hlediska historie. V druhé kapitole nazvané "Hra na levoruké hudební nástroje z hlediska technického a praktického" se píše o historii levorukých nástrojů. Dále se zde pojednává o konstrukci hudebních nástrojů ve vztahu k možnostem použití pravákem nebo levákem, včetně popisu jednoduchých experimentů. Poslední třetí kapitola se jmenuje "Statistický průzkum" a snaží se poodkrýt současný stav, co se týče procentuálního počtu levorukých žáků na Základních uměleckých školách.This bachelor´s thesis is dedicated to the issues of the left-handedness of musicians, especially pupils of music schools, from the perspective of a music teacher who is in daily pedagogic contact with them. The thesis has been divided into three basic chapters. The first chapter called "Left-handedness in General" explains the concept of laterality with regard to its roots and types, further it theoretically deals with the causes and forms of left-handedness, mentioning e.g. the cerebral hemispheres, their crossing and the dissimilarity of their physiological functions. It also cites various theories and hypotheses about the origin of laterality from the historical point of view. The second chapter called "Playing Left-handed Musical Instruments from the Technical and Practical Perspective" is concerned with the history of left-handed instruments in connection with the development of their serial production and its subsequent decline. Further it deals with the construction of musical instruments regarding the possibilities of their being used by a right handed or left-handed person, including the description of minor experiments on the topic of the possibility and effectiveness of musical instrument modifications for the left-handed and the introduction of feasible alternatives for teaching left-handed people how to play the individual musical instruments, from the viewpoint of some world-known musicians as well as from the perspective of the author an educationalist. The third and last chapter is called "Statistical Survey" and it strives to reveal the current state concerning the percentage of left-handed musicians, particularly pupils of music schools playing the individual musical instruments whether specially adjusted for the left-handed or not. The purpose of all this has been to acquire certain statistical data the explicative value of which is being analysed here.