Recent Literature on Joseph Haydn
These listings occupy two pages. This second page includes citations dealing with Haydn's instrumental music. Page one, available via this link, provides citations regarding general Haydn studies as well as literature concerning his vocal works. It also provides full citations for works containing two or more essays on Haydn; these essays are cited in short form below.
Symphonies
Bergé, Pieter. "Transcending Mono(tono)thematicism: A Reinvestigation of Compositional Logic in Haydn's Paris Symphonies Nos. 84-86." Dutch Journal of Music Theory 8 (2003), 199-205.
Bernstein, Lawrence F. "Joseph Haydn's Influence on the Symphonies of Antonio Rosetti." In Historical Musicology: Sources, Methods, Interpretations, ed. Stephen A. Crist and Roberta Montemorra Marvin, 143-187. Eastman Studies in Music. Rochester: University of Rochester Press, 2004.
Bey, Henning. "Dei Symphonie als Heterokosmos. Musikalische Logik und ästhetischer Inhalt in den Symphonien Haydns und Mozarts nach 1782." Ph.D. dissertation, Musikwissenschaftliches Seminar, Freiburg i. Br., 2003. Publ. as Haydns und Mozarts Symphonik nach 1782: konzeptionelle Perspektiven. Deutsche Hochschuledition, 141. Neuried: ars una, 2005.
Blazin, Dwight. "Haydn as Musical Borrower: The Origin of the Finale to the Feuer Sinfonia (Hob. I:59)." Journal of Musicological Research 28 (2009), 146-161.
Bonds, Mark Evan. "The Symphony as Pindaric Ode." In Haydn and His World, 131-53.
______. "Symphonic Politics: Haydn's 'National Symphony' for France." Eighteenth-Century Music 8 (2011), 9-19.
Brown, A. Peter. The First Golden Age of the Viennese Symphony: Haydn, Mozart, Beethoven, and Schubert. The Symphonic Repertoire, 2. Bloomington: Indiana University Press, 2002.
______. "The Sublime, the Beautiful, and the Ornamental: English Aesthetic Currents and Haydn's London Symphonies." In Landon Festschrift, 44-71.
Burnett, Henry. "Levels of Chromatic Ordering in the First Movements of Haydn's London Symphonies: A New Hypothesis." International Journal of Musicology 7 (1998), 113-165.
Burstein, L. Poundie. "Comedy and Structure in Haydn's Symphonies." In Schenker Studies 2, ed. Carl Schachter and Hedi Siegel, 67-81. Cambridge: Cambridge University Press, 1999.
______. “'Functial Formanality': Twisted Formal Functions in Joseph Haydn’s Symphonies." In Formal Functions in Perspective: Essays in Musical Form from Haydn to Adorno, ed. Steven Vande Moortele, Julie Pedneault-Deslauriers, and Nathan John Martin, 11-36. Eastman Studies in Music. Rochester: University of Rochester Press, 2015.
Churgin, Bathia. "The Italian Symphonic Background to Haydn's Early Symphonies and Opera Overtures." Orbis Musicae 12 (1998), 73-82. Revised version of Haydn Studies article.
Clarke, David. "Language Games." i>Musical Times 137 (Jan 1996), 5-10. Symphony no. 104.
______. "Speaking for Itself." Musical Times 137 (Feb 1996), 14-18. Symphony no. 104.
Danckwardt, Marianne. “Hornsignale in Joseph Haydns Sinfonien.” Archiv für Musikwissenschaft 67 (2010), 36-44.
Diergarten, Felix. "'Jedem Ohre klingend': Haydns sinfonische Formprinzipien an seinen Sinfonieexposition dargestellt." Ph.D. dissertation, Hochschule für Musik, 2009. Publ. Laaber: Laaber, 2012. Reviews: Alex Ludwig, Music Theory and Analysis 2/1 (2015); Ulrich Scheideler, Zeitschrift der Gesellschaft für Musiktheorie 11/1 (2014), 159-165.
______. “Time Out of Joint — Time Set Right: Principles of Form in Haydn’s Symphony No. 39.” Studia Musicologica 51 (2010), 109-126.
Dinse, Susanna. "Die Idee des Popularen in der Musik des 18. Jahrhunderts, dargestellt an den Sinfonien Joseph Haydns." Ph.D. dissertation, Musikwissenschaftliches Institut, Cologne, 2006. Publ. as Beiträge zur Musikwissenschaft, 8. Kassel: Gustav Bosse, 2008.
Dolan, Emily I. “Haydn, Hoffmann, and the Opera of Instruments.” Studia Musicologica 51 (2010), 325-346.
______. The Orchestral Revolution: Haydn and the Technologies of Timbre. Cambridge: Cambridge University Press, 2012. Reviews: Paul Christensen in Notes 70 (2013-14), 260-262; Jonathan de Souza, Journal of the American Musicological Society 67 (2014), 239-244; David Wyn Jones, Eighteenth-Century Music 12 (2015), 233-235.
Edgerton, Sara Ann. “The Bass Part in Haydn's Early Symphonies: A Documentary and Analytical Study.” D. M. A. dissertation, Cornell University, 1989.
Fendre, Michael. "'This wonderful man never fails...' Kategorisierung der überraschenden Momente in der Sinfonie Franz Joseph Haydns." Ph.D. dissertation, Universität für Musik und Darstellende Kunst, Graz, 2003.
Ferraguto, Mark. “Haydn as ‘Minimalist’: Rethinking Exoticism in the Trios of the 1760s and 1770s.” Studia Musicologica 51 (2010), 61-77.
Fisher, Stephen C. "Further Thoughts on Haydn's Symphonic Rondo Finales." Haydn Yearbook 17 (1992), 85-107.
______. “Haydn’s Orchestral Finale in D Major, Hob. Ia:4.” Haydn-Studien 9 (2006), 210-222.
______. “Is It Still 104? Or, How Many Symphonies Did Joseph Haydn Really Compose?” Haydn Society of North America Newsletter 5 (April 2010), 4-6.
Friesenhagen, Andreas. “Haydns Sinfonien: Besetzungsprobleme und Aufführungstraditionen.” Studia Musicologica 51 (2010), 127-140.
______. "Haydn's Symphonies: Problems of Instrumentation and Performance Tradition." Early Music 39 (2011), 253-261.
Fulias, Ioannis. “A Peculiarity in Haydn’s Early Symphonic Work: Form and Possible Sources of the First Movement of Symphony Hob. I:21.” Studia Musicologica 51 (2010), 419-428.
Garbayo Montabes, F. J. “Estilo galante y sinfonías de F. J. Haydn en la capilla de música de la catedral de Santiago de Compostela durante el magisterio del Melchor López (1783-1822): la renovación del repertorio instrumental.” Anuario Musical 68 (2013), 263–292.
Gerlach, Sonja. "Joseph Haydns Sinfonien bis 1774. Studien zur Chronologie." Haydn-Studien 7 (1996-98), 1-287.
______. “Das Autograph von Haydns Sinfonie Hob. I:9 aus dem Jahr 1762.” Haydn-Studien 8 (2000-04), 237-252.
Gersthofer, Wolfgang. "'Expositionsüberraschungen' in Haydns Pariser Sinfonien." In Finscher Festschrift, 298-308.
Greenburg, Yoel. “Minding a Gap: ‘Active Transitions’ from the Slow Introduction to the Fast Section in Haydn’s Symphonies.” Journal of Musicology 29 (2012), 292-322.
Grossman, E. Lary. "Fugal Procedures in the Symphonies of Joseph Haydn." Ph.D. dissertation, Northwestern University, 1993. Abstract in DAI 55/1 (July 1994), 8-A.
Haimo, Ethan. Haydn's Symphonic Forms: Essays in Compositional Logic. Oxford Monographs on Music. Oxford: Clarendon, 1995. Reviews: Markus Bandur, Die Musikforschung 51 (1998), 239-241; Peter A. Hoyt, Music Theory Spectrum 19 (1997), 264-284; Andreas Odenkirchen, Musiktheorie 16 (2001), 86-87.
Harrison, Bernard. Haydn: The "Paris" Symphonies. Cambridge Music Handbooks. Cambridge: Cambridge University Press, 1998. Reviews: Georg Feder, Die Musikforschung 54 (2001), 80-81; David Wyn Jones, Music & Letters 80 (1999), 444-446; Simon Keefe, Notes 56 (1999-2000), 403-406.
Hogwood, Christopher. "In Praise of Arrangements: The 'Symphony Quintetto.'" In Landon Festschrift, 82-104.
Hortschansky, Klaus. "Die g-Moll-Sinfonie zur Zeit der Wiener Klassik." In Abert FS, 329-348. Symphony no. 39.
Ikegami, Ken’ichiro. “Zu den orchestralen Strategien der veränderten Reprise in den Sinfonien Joseph Haydns.” Ongakugaku 65 (2019), 122-136.
Illing, Robert. "'Haydn's Toy Symphony.'" Music & Letters 78 (1997), 143.
Johnson, Theodore. “The Intermingling of Folk Songs and Masonic Music in Mozart’s The Magic Flute, and Haydn’s Symphony No. 103 and The Creation.” M. A. thesis, California State University, 2013.
Jones, David Wyn. “Haydn’s Forgotten Quartets: Three of the ‘Paris’ Symphonies Arranged for String Quartet.” Eighteenth-Century Music 8 (2011), 287-305.
Kee, Piet. "Haydn's Last Symphony: Input from London?" Musical Times 147 (Winter 2006), 57-62.
Keefe, Simon P. "Dialogue and Drama: Haydn's Symphony No. 102." Music Research Forum 11/1 (1996), 1-21.
______. “Harmonies and Effects: Haydn and Mozart in Parallel.” In The Cambridge Companion to the Symphony, ed. Julian Horton, 155-173. Cambridge: Cambridge University Press, 2013.
Konrad, Ulrich. "Rezeption, Innovation, Individuation. 'Intertextualität' zwischen der Symphonie Nr. 75 von Joseph Haydn und dem Klavierkonzert KV 450 von Wolfgang Amadeus Mozart." In Krummacher FS, 149-167.
______. Werkstattblicke: Haydn, Beethoven, und Wagner beim Komponieren beobachtet. Akadedmie der Wissenschaften und der Literatur, Jahrgang 2014, Nr. 2. Stuttgart: Steiner, 2014. Review by Patricia Stroh, Beethoven Journal 30/1 (Summer 2015), 38. Symphony no. 99, finale.
Korstvedt, Benjamin. "On Not Inviting Difficulties in Haydn’s Symphonies." Haydn 3/2 (Fall 2013).
Kulosa, Alexander. "Paukenschläge - Die Sinfonie Nr. 60 von Joseph Haydn." Ph.D. dissertation, Institut für Musik und Musikwissenschaft, Dortmund, 2004.
Landon, H. C. Robbins. "The Finale of Haydn's Symphony No. 88 as an Anonymous Ballet Insertion in Revolutionary Paris." Haydn Yearbook 22 (1998), 89-94.
LaRue, Jan. "Bifocal Tonality in Haydn's Symphonies." In Ratner Festschrift, 59-73.
Leister, Reiner. “Das Finale in der Sinfonik Joseph Haydns.” Ph.D. dissertation, Bonn, 1999.
Lister, Warwick. “The First Performance of Haydn’s ‘Paris’ Symphonies.” Eighteenth-Century Music 1 (2004), 289-300.
Loughridge, Deirdre. Haydn’s Sunrise, Beethoven’s Shadow: Audiovisual Culture and the Emergence of Musical Romanticism. Chicago: University of Chicago Press, 2016. Symphony no. 6.
Lowe, Melanie Diane. "Expressive Paradigms in the Symphonies of Joseph Haydn." Ph.D. dissertation, Princeton University, 1998. Abstract in DAI 58/11 (May 1998), 4121-A.
______. "Falling from Grace: Irony and Expressive Enrichment in Haydn's Symphonic Minuets." Journal of Musicology 19 (2002), 171-221.
MacKay, James S. "Tonal Diversity and Formal Variety in Haydn's Seven Last Words." In Contemporaries, 56-75.
Martínez, Marcelino Díez. “'Las Siete Palbaras de Cristo en la Cruz’ de Franz Joseph Haydn: Un caso paradigmàntico de mecenazgo musical de la nobleza.” Revista de musicología 26 (2003), 491-512.
Mikusi, Balázs. “Haydn’s ‘Requiem for Mozart’? Revisiting the Slow Movement of Symphony No. 98.” Ad Parnassum 7/13 (2009), 43-58.
______. "More Than a Copy: Joseph Haydn’s Menuet al roverso in Context." Haydn 3/2 (Fall 2013.
Mirka, Danuta. “Absent Cadences.” Eighteenth-Century Music 9 (2012), 213-235.
Monatzeder, Manfred. “Das sinfonische Prinzip in den frühen Sinfonien von Joseph Haydn.” Ph.D. dissertation, Würzburg, 1990.
Moosbauer, Bernhard. "Studien zur Tonartbehandlung in den Finali der Sinfonien Joseph Haydns zwischen 1766 und 1774." Dissertation, Tübingen, 1996. Publ. as Tonart und Form in den Finali der Sinfonien von Joseph Haydn zwischen 1766 und 1774. Tübinger Beiträge zur Musikwissenschaft, 19. Tutzing: Hans Schneider, 1998. Reviews: Marion Brück, Musik in Bayern 61 (2001), 100-101; Herbert Schneider, Die Musikforschung 54 (2001), 81-82.
Müller-Arp, Eberhard. “Die langsame Einleitung bei Haydn, Mozart und Beethoven: Tradition und Innovation in der Instrumentalmusik der Wiener Klassik.” Ph.D. dissertation, Hamburg, 1991.
Nachtergaele, Shanti. "Looking Forward Towards the Haydn Tricentennial." Early Music 47 (2019), 607-609.
Neuwirth, Markus. "Is There a 'Musical Task' in the First Movement of Haydn's 'Oxford' Symphony? Voice-Leading Schemata and Intrinsic Formal Functions." Music Theory and Analysis 2/2 (2015), 194-203.
Nitzberg, Roy J. “Voice-Leading and Chromatic Techniques in Expositions of Selected Symphonies by Joseph Haydn, Introducing a New Theory of Chromatic Analysis.” Ph.D. dissertation, City University of New York, 1999.
Plondke, James. "Artistry, Occasion, and Venue in the Symphonies of Joseph Haydn, 1774-1784: The Paradigm of the 'Roxelana' Symphony." D.M.A. dissertation, University of Wisconsin-Madison, 1993. Abstract in DAI 54/9 (Mar 1994), 3260-A.
Rice, John A. "The Farewell Symphony between Paris and Russia." Haydn 3/2 (Fall 2013).
Riley, Matthew. “Hermeneutics and the New Formenlehre: An Interpretation of Haydn’s ‘Oxford’ Symphony, First Movement.” Eighteenth-Century Music 7 (2010), 199-219.
Roberts, Jeffrey. "Origins of a Modern Orchestral Style: The Evolution of Timbre, Gesture, Phrase and Form in the Slow Movements of Haydn's Early Symphonies (1758-1774)." Ph.D. dissertation, Braideis University, 2008.
Ruhling, Michael E. “Joseph Haydn's ‘London’ Symphonies 94, 97, and 98: Critical Edition Based on Salomon's Sources.” Ph.D. dissertation, Catholic University of America, 2000.
Scheideler, Ullrich. "Das Ohr hört mit - Quint- und Oktavparallelen in frühen Sinfonien Joseph Haydns." Haydn Studien 8 (2000-04), 1-38.
Scherp, Randolph. "The Bimodal Symphonies of Joseph Haydn (1732-1809):
A Repertoire of Works Grounded in the Play of Modes." Ph.D. dissertation, University of California-Santa Barbara, 2009.
Schwarz-Herion, Konrad. "... auf eine gantz neu Besondere Art..." Die Entwicklung der thematisch-motivischen Arbeit in Haydns Sinfonien aus der Zeit zwischen 1773 und 1781 und ihre Voraussetzungen." Ph.D. dissertation, Institut für Musikwissenschaft, Karlsruhe, 2003.
Siegert, Christine. "Haydn's Farewell Symphony - The Musical Aftermath of an Anecdote." Haydn (Spring 2011)
Sisman, Elaine. "Haydn's Solar Poetics: The Tageszeiten Symphonies and Enlightenment Knowledge." Journal of the American Musicological Society 66 (2013), 5-102.
Sutcliffe, W. Dean. "Expressive Ambivalence in Haydn's Symphonic Slow Movements of the 1770s." Journal of Musicology 27 (2010), 84-133.
Suurpää, Lauri. "Programmatic Aspects of the Second Sonata of Haydn's Seven Last Words." Theory and Practice 24 (1999), 29-55.
______. "The Undivided Ursatz and the Omission of the Tonic Stufe at the Beginning of the Recapitulation." Journal of Schenkerian Studies 1 (2005), 66-91. Symphony no. 95, first movement.
Ulm, Renate, ed. Haydns Londoner Symphonien. Entstehung – Deutung – Wirkung. Kassel: Bärenreiter, 2007. Review by Wolfgang Fuhrmann, Die Musikforschung 65 (2012), 277-279.
Volckmar-Waschk, Heide. “Auf der Jagd nach der authentischen Fassung. Zur Quellenlage von Joseph Haydns Sinfonie Hob. I:73, La Chasse.” Jahrbuch des Staatlichen Instituts für Musikforschung Preußischer Kulturbesitz 2014, 75-98.
Wald, Melanie. “‘Ein curios melancholisches Stückchen’: Die düstere Seite von Haydns fis-Moll Sinfonie Hob. I:45 und einige Gedanken zur Pantomime in der Instrumentalmusik.” Studia Musicologica 51 (2010), 79-90.
Walter, Michael. Haydns Sinfonien. Ein musikalischer Werkführer. Munich: C. H. Beck, 2007.
Weber-Bockholdt, Petra. "Joseph Haydns Sinfonien mit langsamen ersten Sätzen." Die Musikforschung 45 (1992), 152-61.
Webster, James. "Haydn's Symphonies between Sturm und Drang and 'Classical Style': Art and Entertainment." In Haydn Studies 1998, 218-45.
Wen, Eric. Structurally Sound: Seven Musical Masterworks Deconstructed. New York: Dover Publications, 2017. Symphony no. 94, first movement.
Wind, Thiemo. "'Verschiedene grosse Passions-Symphonien, von Haydn komponiert': Eine Rotterdamer Aufführung der Sieben Letzten Worte im Jahre 1784?" Tijdschrift van de Vereniging voor Nederlandse Muziekgeschiedenis 43 (1993), 105-18.
Winkler, Gerhard J., ed. Das symphonische Werk Joseph Haydns. Referate des Internationalen Musikwissenschaftlichen Symposions Eisenstadt, 13.-15. September 1995. Wissenschaftliche Arbeiten aus dem Burgenland, 103. Eisenstadt: Burgenländisches Landesmuseum, 2000.
Zaslaw, Neal. “Haydn’s Orchestras and His Orchestration to 1779, with an Excursus on the Times-of-Day Symphonies.” In Engaging Haydn, 302-321.
Concertos
Gerlach, Sonja. "Drei Klarinettenkonzerte - aber nicht von Haydn." Die Musikforschung 51 (1998), 215-217.
Katz, Bernardo. "'Evolucao Tecnica do Violoncelo Concerto re Maior de Haydn' by Jorge Armando Nogueira Nunes." D.M.A. dissertation, Arizona State University, 1999. Abstract in DAI 60/5 (Nov 1999), 1386-A.
Kennaway, George. “Haydn’s (?) Cello Concertos, 1860-1930: Editions, Performances, Reception.” Nineteenth-Century Music Review 9 (2012), 177-211.
Klocker, Dieter. "Das verschollene Klarinettenkonzert in B-Dur (Hob. Deest) von Joseph Haydn: Situationsskizze einer Wiederentdeckung." In Sine musica nulla vita: Festschrift Hermann Moeck zum 75. Geburtstag am 16. September 1997, ed. Nikolaus Delius, 297-305. Celle: Moeck, 1997. Pp. 297-305.
Leverenz, Anna M. "The Debated Authenticity of Franz Joseph Haydn's Concertos for Horn: An Historical and Theoretical Approach to Attribution." D.M.A. dissertation, University of Cincinnati, 2011.
Odenkirchen, Andreas. Die Konzerte Joseph Haydns. Untersuchungen zur Gattungstransformation in der zweiten Hälfte des 18. Jahrhunderts. Europäische Hochschulschriften, Reihe 36 Musikwissenschaft, 106. Frankfurt am Main: Peter Lang, 1993.
Parish, Tracy M. "A Performance Interpretation of the Concerto in E flat Major by Joseph Haydn Based on Contemporaneous Writings and Period Performance Practice." D.M.A. dissertation, University of Illinois at Urbana-Champaign, 2008.
Raabe, Günter. "Ein Klarinettenkonzert in Burgsteinfurt - von Joseph Haydn?" Haydn Studien 8 (2000-04), 69-74.
Schmid, Manfred Hermann. “Ein Violinkonzert von Viotti als Herausforderung für Mozart und Haydn.” Mozart Studien 5 (1995), 149-171.
Steinbeck, Wolfram. "Die Konzertsatzform bei Haydn." In Abert FS, 641-662.
Tolley, Thomas. “James Cervetto and the Origin of Haydn’s D Major Cello Concerto.” Eighteenth-Century Music 16 (2019), 9-29.
String Quartets
Anson-Cartwright, Mark. “Haydn’s Homage to Mozart: Echoes of ‘Voi che sapete’ in Opus 64, No. 3.” Intégral 14/15 (2000/01), 121-136.
Baker, James M. "Chromaticism, Form, and Expression in Haydn's Quartet Op. 76, No. 6." Journal of Music Theory 47 (2003), 41-101.
Balter, Tamara. "A Theory of Irony in Music: Types of Irony in the String Quartets of Haydn and Beethoven." Ph.D. dissertation, Indiana University, 2009.
Berger, Christian. "Die Lust an der Form oder: Warum ist Haydns Streichquartett op. 33,5 'klassisch'?" In Krummacher FS, 105-120.
Birson, Adem Merter. "The Use of Minor Mode and Playing with Sonority in the Expositions of Haydn’s String Quartets, Opp. 9 and 17." Haydn 4/1 (Spring 2014).
Bockholdt, Rudolf. "Liebe zu einer unterschätzten Komposition Joseph Haydns. Die Finalsätze von Haydns 'Russischem' Quartett in G-Dur und Mozarts 'Haydn'-Quartett in d-moll." In Bockholdt Studien, 61-70.
Brügge, Joachim. "Joseph Haydn, op. 20, Nr. 2, Capriccio: eine Vorlagekomposition für W. A. Mozart, KV 171, I." Neues musikwissenschaftliches Jahrbuch 1 (1992), 69-86.
Choa, Sharon Andrea. "Sonata-Fugue in Joseph Haydn's String Quartets." Ph.D. dissertation, Music, King's College, University of London, 1998.
Christiansen, Paul. "The Turk in the Mirror: Orientalism in Haydn's String Quartet in D Minor, Op. 76, No. 2 ('Fifths')." Nineteenth-Century Music 31 (2007-08), 179-192.
Cortens, Evan. "The Expositions of Haydn’s String Quartets: A Corpus Analysis." Haydn 4/1 (Spring 2014).
Danuser, Hermann. "Das Ende als Anfang. Ausblick von einer Schlussfigur bei Joseph Haydn." In Finscher Festschrift, 818-827. Quartet in E flat, Op. 33 no. 2.
DeLong, Kenneth. "Roads Taken and Retaken: Foreground Ambiguity in Chopin's Prelude in A-flat, Op. 28, no. 17." Canadian University Music Review 11/1 (1991), 34-49. Discusses Haydn's Quartet in B minor, Op. 33 no. 1.
Drabkin, William. A Reader's Guide to Haydn's Early String Quartets. Reader's Guides to Musical Genres, 1. Westport CT: Greenwood, 2000. Reviews: Musical Times 141 (Autumn 2000), 59-61; Nancy November, Music Analysis 21 (2002), 245-255; Guido Olivieri, Notes 46 (2000-01), 897; W. Dean Sutcliffe, Music & Letters 83 (2002), 453-454.
______. "A Finale for Haydn's Last String Quartet." Haydn 2/2 (Fall 2012).
Duncan, Stuart Paul. "Blurring the Boundaries: Toward a Multivalent Reading of Three First-Movement Sonata Forms in Haydn's Op. 50 String Quartets." Musicological Explorations 12 (2011), 5-40.
Edwards, George. "The Nonsense of an Ending: Closure in Haydn's String Quartets." Musical Quarterly 75 (1991), 227-54.
Feder, Georg. Haydns Streichquartette. Ein musikalischer Werkführer. Wissen in der Beck'schen Reihe, 2203. Munich: Beck, 1998. Review: Bernhard Schmid, Musik in Bayern 61 (2001), 101-103.
Feder, Georg, and Walter Reicher, eds. Internationales Musikwissenschaftliches Symposium "Haydn & Das Streichquartett." Im Rahmen des "Haydn Streichquartett Weekend" Eisenstatt, 1.-5. Mai 2002. Referate und Diskussionen. Eisenstädter Haydn-Berichte, 2. Tutzing: Hans Schneider, 2003. Reviews: Nicole Schwindt, Die Musikforschung 57 (2004), 303-304; W. Dean Sutcliffe, Music & Letters 86 (2005), 478-482.
Giglberger, Veronika. "Die 'Kaiserhymne' im Streichquartett. Haydns Variationssatz aus dem Quartett op. 76 Nr. 3 und seine Klavierfassung." Musiktheorie 17 (2002), 245-257.
Glen, Constance Cook. “The Interaction of Haydn and Mozart: A Study of the Quartets.” Ph.D. dissertation, Indiana University, in progress.
Grant, Ben, Francis Knights, Pablo Padilla, and Dan Tidhar. “Network-Theoretic Analysis and the Exploration of Stylistic Development in Haydn’s String Quartets.” Journal of Mathematics and Music 16/1 (2022), 18-28.
Grave, Floyd. "Concerto Style in Haydn's String Quartets." Journal of Musicology 18 (2001), 76-97.
______. “Recuperation, Transformation and the Transcendence of Major over Minor in the Finale of Haydn’s String Quartet Op. 76 No. 1.” Eighteenth-Century Music 5 (2008), 27-50. Cf. Corrigendum, 269.
______. "Freakish Variations on a 'Grand Cadence' Prototype in Haydn's String Quartets." Journal of Musicological Research 28 (2009), 119-145.
______. "Listening for Tertiary Rhetoric in Haydn’s Op. 77 String Quartets." Haydn 4/1 (Spring 2014).
Grave, Floyd, and Margaret Grave. The String Quartets of Joseph Haydn. New York: Oxford University Press, 2006. Reviews: Danuta Mirka, Early Music 35 (2007), 122-125; Nancy November, Notes 63 (2006-07), 831-833; William Drabkin, Music & Letters 88 (2007), 538-539; Lászlý Somfai, Ad Parnassum 5/10 (2007); Karen Hiles, Eighteenth-Century Music 6 (2009), 120-123.
Grier, James. "The Reinstatement of Polyphony in Musical Construction: Fugal Finales in Haydn's Op. 20 String Quartets." Journal of Musicology 27 (2010), 55-83.
Gülke, Peter. "Joseph Haydns Die sieben letzen Worte unseres Erlösers am Kreuz." Jahrbuch des Staatlichen Instituts für Musikforschung Preußischer Kulturbesitz 2008/09, 161-168.
Hohenegger, Maximilian. “Innere Proportionen in der Sonatensatzform der Streichquartette von Luigi Cherubini, Ludwig van Beethoven, Joseph Haydn und Wolfgang Amadeus Mozart.” Studien zur Musikwissenschaft 55 (2010)
Hohenegger, Maximilian, and Peter Barcaba. "Periodische Formgebilde in den Streichquartetten von Haydn, Mozart und Beethoven. Mit besonderer Berücksichtigung der Stimmführunganalyse von Heinrich Schenker." Studien zur Musikwissenschaft 48 (2002), 389-412.
Hunter, Mary. "Haydn's London Piano Trios and His Salomon String Quartets: Private vs. Public?" In Haydn and His World, 103-30.
______. “Haydn’s String Quartet Fingerings: Communications to Performer and Audience.” In Engaging Haydn, 281-301.
______. "Unisons in Haydn’s String Quartets." Haydn 4/1 (Spring 2014).
Inman, Samantha M. “Reprise Structures in Haydn’s Op. 50 Minuets.” Indiana Theory Review 36 (2020), 23-55.
Jenkins, Chadwick. “Recapitulation as Process: The Augmented-Second Tetrachord in the First Movement of Haydn’s Op. 33, no. 5.” Studia Musicologica 51 (2010), 347-367.
Jones, David Wyn. "A Newly Identified Sketchleaf for Haydn’s Quartet in D Minor, ‘Opus 103.’” Haydn-Studien 8 (2000-04), 413-417.
______. “Haydn’s Forgotten Quartets: Three of the ‘Paris’ Symphonies Arranged for String Quartet.” Eighteenth-Century Music 8 (2011), 287-305.
Klauk, Stephanie, and Rainer Kleinertz. “Mozart’s Italianate Response to Haydn’s Opus 33.” Music and Letters 97 (2016), 575-621.
Kreyszig, Walter Kurt. "Wolfgang Amadeus Mozart's Motivische Arbeit: Aspects of Sonata Form in the Minuets of KV 421 (=417b) and KV 458 and Their Relationship to the Scherzi of Joseph Haydn's Opus 33, Hob. III:37-42." Studies in Music from the University of Western Ontario 19-20 (2000-01), 199-256.
Krummacher, Friedhelm. "'voll neuer Gedenken'? Über Haydns späte Streichquartette." Haydn-Studien 10 (2010-13), 381-403.
Langlois, Mathieu. "Haydn's 'Irregularities': Ambiguous Openings in the B-Minor String Quartets, op. 33/1 and 64/2." In Topics in Eighteenth-Century Music I, ed. Margaret R. Butler and Janet K. Page, 103-130. SECM in Brooklyn 2010. Ann Arbor: Steglein, 2014.
Larson, Steve. "Recapitulation Recomposition in the Sonata-Form First Movements of Haydn's String Quartets: Style Change and Compositional Technique." Music Analysis 22 (2003), 139-177.
Lichtenstein, Osnat. "Haydn's Quartets, Op. 20: The Interrelation of the Main Sections in the Sonata-Form First Movements." M. A. thesis, Bar-Ilan University, 1996.
Lippmann, Freidrich. "Zur Struktur der langsamen Sätze der Mozartschen 'Haydn-Quartette,' im Vergleich mit Haydns op. 33." Studi musicali 35 (2006), 193-211.
Lockwood, Lewis. "Imagination, Continuity, and Form in the First Movements of Haydn's Opus 77 Quartets." In Engaging Haydn, 145-157.
MacKay, James. "Bariolage and Formal Design: Haydn's 'The Frog,' Opus 50, no. 6, Finale." Haydn-Studien 10 (2010-13), 93-110.
______. "Sonata Form Experimentation in Joseph Haydn's String Quartets, Opus 17." Haydn 4/1 (Spring 2014).
______. "'Unloosing the Gordian Knot': Sonata Theory, Form-Functional Analysis, and Becoming in Joseph Haydn's String Quartet Op. 64, No. 2, I." Intégral 36 (2023), 207-219.
Marín, Miguel Ángel. Joseph Haydn y el cuarteto de cuerda. Madrid: Alianza Editorial, 2009. Review by Victoria Alemany, Ad Parnassum 7/14 (2009).
Metzger, Heinz-Klaus, and Rainer Riehn, eds. Haydns Streichquartette. Eine moderne Gattung. Musik-Konzepte, 116. Munich: Edition Text und Kritik im Richard Boorberg, 2002. Review by Nicole Schwindt in Die Musikforschung 57 (2004), 303-304.
Mirka, Danuta. Hypermetric Manipulations in Haydn and Mozart: Chamber Music for Strings 1787-1791. Oxford Studies in Music Theory. Oxford: Oxford University Press, 2009. Reviews: David Temperley Journal of Music Theory 53 (2009), 305-328; W. Dean Sutcliffe, Early Music 38 (2010), 600-602; Mark Anson-Cartwright, Music & Letters 92 (2011), 125-128; Roger Mathew Grant, Eighteenth-Century Music 19 (2022), 208–210.
Neubacher, Jürgen. "'Finis Coronat Opus.' Untersuchungen zur Technik der Schlussgestaltung in der Instrumentalmusik Joseph Haydns, dargestellt am Beispiel der Streichquartette. Mit einem Exkurs: Haydn und die rhetorische Tradition." Ph.D. dissertation, Mainz, 1986. Published, Tutzing: Hans Schneider, 1986.
November, Nancy R. "Haydn's Vocality and the Ideal of 'True' String Quartets." Ph.D. dissertation, Cornell University, 2003.
______. "Haydn’s Melancholy Voice: Lost Dialectics in His Late Chamber Music and English Songs." Eighteenth-Century Music 4 (2007), 71-106.
______. "Register in Haydn's String Quartets: Four Case Studies." Music Analysis 26 (2007), 289-322.
______. "Instrumental Arias or Sonic Tableaux: 'Voice' in Haydn’s String Quartets Opp. 9 and 17." Music & Letters 89 (2008), 346-372.
Padel, Ruth. "The Life behind the Music, the life behind the Words: On Writing Poems about String Quartets by Haydn, Beethoven and Schubert." Eighteenth-Century Music 19 (2022), 119-123.
Polzonetti, Pierpaolo. "Haydn and the Metamorphoses of Ovid." In Engaging Haydn, 211-239.
Raab, Armin. "Funktionen des Unisono: Dargestellt an den Streichquartetten und Messen von Joseph Haydn." Ph.D. dissertation, Nürnberg, 1988. Published, Frankfurt am Main: Haag und Herchen, 1990.
Russakovsky, Lubov. "The Altered Recapitulation in the First Movements of Haydn's String Quartets." Dutch Journal of Music Theory 6 (2001), 27-37.
Schmidt-Thieme, Lars. "Die veränderten Reprisen in Haydns Streichquartetten." Ph.D. dissertation, Musikwissenschaftliches Seminar, Heidelberg, 1998.
______. Die formale Gestaltung von Exposition und Reprise in den Streichquartetten Haydns. Europäische Hochschulschriften, 36/206. Frankfurt am Main: Peter Lang, 2000.
Schroeder, David. "The Art of Conversation: From Haydn to Beethoven's Early String Quartets." Studies in Music from the University of Western Ontario 19-20 (2000-01), 377-399.
Schwindt, Nicole. "Haydn, Fux und das 'Kaiserlied' als cantus-firmus-Variation." Musiktheorie 17 (2002), 231-243.
Sisman, Elaine. "Rhetorical Truth in Haydn’s Chamber Music: Genre, Tertiary Rhetoric, and the Opus 76 Quartets." In Rhetoric, 281-326.
Somfai, László. "Authentic Text and Presumed Intention: Experiences of the Festetics Quartet." Haydn-Studien 6 (1986-94), 298-303.
______. "'...They are full of invention, fire, good taste, and new effect': Two Compositional Essays in the 'Erdödy' Quartets Op. 76." Studia Musicologica 51 (2010), 317-324.
Speck, Christian. "Vokal und Instrumental im Variationensatz von Haydns 'Kaiserquartett' op. 76 Nr. 3." Musiktheorie 17 (2002), 225-229.
Spieth, Alison Elaine. "A Matter of Taste: Duos for Violin and Viola by Joseph Haydn, Michael Haydn, and Wolfgang Amadeus Mozart." D. M. A. dissertation, University of California-Los Angeles, 2012.
Sutcliffe, W. Dean. Haydn: String Quartets, Op. 50. Cambridge Music Handbooks. Cambridge: Cambridge University Press, 1992. Reviews: Ethan Haimo, Journal of Musicological Research 14 (1994), 97-101; David Wyn Jones, Music & Letters 74 (1993), 299-300; Denis McCaldin, Musical Times 133 (1992), 404.
______. "Before the Joke: Texture and Sociability in the Largo of Haydn's Op. 33, No. 2." Journal of Musicological Research 28 (2009), 92-118.
______. “What is Haydn Doing in a John Field Nocturne?” Music Analysis 42 (2023), 163-187. Quartet Op. 76 No. 6, Nocturne No. 13 in D minor.
Tepping, Susan E. "Fugue Process and Tonal Structure in the String Quartets of Haydn, Mozart, and Beethoven." P.D. dissertation, Indiana University, 1987.
Webster, James. "Haydn’s Op. 9: A Critique of the Ideology of the 'Classical' String Quartet." In Somfai FS, 139-157.
Wheelock, Gretchen A. "Engaging Strategies in Haydn's Opus 33 String Quartets." Eighteenth-Century Studies 25 (1991-92), 1-30.
Winkler, Gerhard J. "Opus 33/2: Zur Anatomie eines Schlusseffekts." Haydn-Studien 6 (1986-94), 288-297.
Young, David, ed. Haydn the Innovator: A New Approach to the String Quartets. Todmorden: Arc Music, 2000. Contents: "Editor's Preface," by David Young, 7-8. "Introduction" by H. C. Robbins Landon, 9-10. "Reading Haydn's Quartets" by John Irving, 11-31. "The First Movements" by Denis McCaldin, 33-56. "The Slow Movements" by David Young, 57-80. "Minuets and Trios in Haydn's Quartets" by David Wyn Jones, 81-97. "Haydn Quartet Finales and Cyclical Closure" by Michael Spitzer, 99-120. "Performing Haydn's Quartets" by Alan George, 121-136.
Zilkens, Udo. Joseph Haydn. Kaiserhymne und Sonnenaufgang. Die Erdödy-Streichquartette im Spiegel ihrer Interpretationen durch Musiktheoretiker und Musiker. Cologne: P. J. Tonger, 1997.
Zimpel, Christhard. "Der kadenzielle Prozess in den Durchführungen. Untersuchung der Kopfsätze von Joseph Haydns Streichquartetten." Ph.D. dissertation, Technische Universität, Berlin, 2004. Publ. as Studien und Materialien zur Musikwissenschaft, 61. Hildesheim: Olms, 2010. Review by W. Dean Sutcliffe, Music and Letters 93 (2012), 238-241.
Piano Trios
Brauner, Jürgen. "Studien zu den Klaviertrios von Joseph Haydn." Ph.D. dissertation, Würzburg, 1995. Publ. as Würzburger Musikhistorische Beiträge, 15. Tutzing: Hans Schneider, 1995. Reviews: Adolf Fecker, Die Musikforschung 50 (1997), 450-51; W. Dean Sutcliffe, Music & Letters 79 (1998), 278-81.
Finscher, Ludwig. "Haydn, Mozart, Beethoven und die 'Erfindung' des Klaviertrios." In Krummacher FS, 135-148.
Gerlach, Sonja. “Bemerkungen zu einem apokryphen Werk.” Haydn-Studien 11 (2014-), 266-277. Trio Hob. XV:D1.
Holmes, Dianne E. "The Keyboard Trios of Joseph Haydn." Ph.D. dissertation, University of Otago, 1994.
Hunter, Mary. "Haydn's London Piano Trios and His Salomon String Quartets: Private vs. Public?" In Haydn and His World, 103-30.
Mace, Nancy A. "Haydn and the London Music Sellers: Forster v. Longman & Broderip." Music & Letters 77 (1996), 527-41.
Millican, Brady. "The London Piano Trios of Joseph Haydn: A Performer's Survey of Neglected Masterpieces." D.M.A. dissertation, Boston University, 1992. Abstract in DAI 53/3 (Sep 1992), 659-A.
Oort, Bart van. "Haydn and the English Classical Piano Style." Early Music 28 (2000), 73-89.
Pruett, Lilian. “Style, Form, Performance: Some Observations on Haydn’s Late Piano Trios.” Early Keyboard Journal 2 (1983-84)
Richards, Annette. “Haydn’s London Trios and the Rhetoric of the Grotesque.” In Rhetoric, 251-280.
Sarosi, Balint. "Ungarische Sackpfeifenlied--Variante eines Themas von Haydn." In Musica Privata: Die Rolle der Musik im privaten Leben. Festschrift zum 65. Geburtstag von Walter Salmen, ed. Monika Fink, Rainer Gstrein, and Günter Mossmer, 353-356. Innsbruck: Helbling, 1991. Trio in G, Hob. XV:25.
Surpää, Lauri. “Deferral of a Cadentially Confirmed Tonic and Play with Changing Conventions in the First Movement of Haydn’s F# Minor Piano Trio (Hob. XV:26).” Music Theory Spectrum 36 (2014), 228-246.
Sutcliffe, W. Dean. “The Piano Trios of Haydn.” Ph.D. dissertation, Cambridge University, 1988.
______. "The Haydn Piano Trio: Textual Facts and Textural Principles." In Haydn Studies 1998, 246-90.
Keyboard Music
Agawu, Kofi. "Haydn's Tonal Models: The First Movement of the Piano Sonata in E-Flat Major, Hob. XVI:52." In Ratner Festschrift, 3-22.
Amano, Gary. “A Pianist’s Journey to the Classic Sonata: First Stop – Haydn.” In The Pianist’s Craft: Mastering the Works of Great Composers, ed. Richard Paul Anderson. Lanham: Scarecrow, 2012. Pp. 29-40.
Aparisi, José Aparisi, and Antonio Ezquerro Esteban. “Una obra espuria de Haydn y de cómo se acomodaron a la danza algunas melodías del dramma giocoso L’arbore di Diana de Vicente Martín y Soler.” Ad Parnassum 17/34 (2019).
Beghin, Tom. "Forkel and Haydn: A Rhetorical Framework for the Analysis of Sonata Hob. XVI:42 (D)." D.M.A. dissertation, Cornell University, 1996. Abstract in DAI 57/7 (Jan 1997), 2725-A.
______. "Haydn as Orator: A Rhetorical Analysis of His Keyboard Sonata in D Major, Hob. XVI:42." In Haydn and His World, 201-54.
______. “‘Votre très humble & très obéissant Serviteur.’ Männliche und weibliche Rhetorik in Haydns Sonate Hob. XVI:40.” Haydn-Studien 9 (2006), 33-57.
______. “‘Delivery, Delivery, Delivery!’: Crowning the Rhetorical Process of Haydn’s Keyboard Sonatas.” In Rhetoric, 131-171.
______. The Virtual Haydn: Paradox of a Twenty-First–Century Keyboardist. Chicago: University of Chicago Press, 2015. Review by John Irving in Early Music 44 (2016), 343-345.
Beghin, Tom, Martha de Francisco, Wieslaw Woszczyk, et al. The Virtual Haydn: Complete Works for Solo Keyboard. Review by Deborah Howard in Journal of the American Musicological Society 68 (2015), 465-475.
Berry, Sylvia. “Review Essay: Haydn Recordings in the Bicentennial Year.” Keyboard Perspectives 2 (2009).
Bethanis, Wayne Douglas. "The Comparative Application of Heinrich Koch's Observations on Sonata-Allegro Form Found in the 'Versuch einer Anleitung zur Composition' to Mozart's Sonata K310, Haydn Sonata H. XIV:52 and Beethoven Sonata Op. 42 [sic] No. 2." Ph.D. dissertation, Claremont Graduate School, 1995. Abstract in DAI 57/8 (Feb 1997), 3314-A.
Brown, A. Peter. "The String Trio Version of Haydn's Princess Esterházy Sonatas (Hob. XVI:40-42): Authenticity and Authorship." In A Compendium of American Musicology: Essays in Honor of John F. Ohl, ed. Enrique Alberto Arias, Susan M. Filler, William V. Porter, and Jeffrey Wasson, 155-176. Evanston: Northwestern University Press, 2001.
Celestini, Federico. "Die frühen Klaviersonaten Joseph Haydns. Eine methodisch vergleichende Studie." Ph.D. dissertation, Institut für Musikwissenschaft, Graz, 1998. Published as Die frühen Klaviersonaten von Joseph Haydn. Eine vergleichende Studie. Studien zur Musikwissenschaft. Beihefte der Denkmäler der Tonkunst in Österreich, 52. Tutzing: Hans Schneider, 2004. Review by W. Dean Sutcliffe in Ad Parnassum 4/7 (2006), 137-141.
______. "Die Scarlatti-Rezeption bei Haydn und die Entfaltung der Klaviertechnik in dessen frühen Klaviersonaten." Studien zur Musikwissenschaft 47 (1999), 95-127.
Clark, Katelyn. "The London Pianist: Theresa Jansen and the English Works of Haydn, Dussek, and Clementi." Haydn 2/1 (Spring 2012).
Feder, Georg, and Walter Reicher, eds. Internationales musikwissenschaftliches Symposium "Haydn & Das Clavier" im Rahmen der internationalen Haydntage Eisenstadt, 13.-15. September 2000: Referate und Diskussionen. Eisenstädter Haydn-Berichte: Veröffentlichungen der Internationalen Joseph Haydn Privatstiftung Eisenstadt, 1. Tutzing: Hans Schneider, 2002.
Foster, Stuart David. "Tonal Methods of Cyclic Unification in Haydn's Mature Keyboard Sonatas." D.M.A. dissertation, Louisiana State University and Agricultural and Mechanical College, 1990. Abstract in DAI 51/12 (Jun 1991), 3947-A.
Fuhrmann, Wolfgang. "Originality as Market-Value: Remarks on the Fantasia in C Hob. XVII:4 and Haydn as Musical Entrepreneur." Studia Musicologica 51 (2010), 303-316.
Furman, A. "Haydn's London Visits 1791-1795: Their Impact on His Keyboard Style." M.Mus. thesis, University of Melbourne, 1993.
Gerlach, Sonja. “Fünf Takte zuviel? Einige Bermerkungen zur Entstehung und Überlieferung von Haydns ‘F-Moll Variationen’ (Hob. XVII:6).” Haydn-Studien 9 (2006), 223-234.
Granot, Roni Y., and Nori Jacoby. “Musically Puzzling II: Sensitivity to Overall Structure in a Haydn E-Minor Sonata." Musicae Scientiae: The Journal of the European Society for the Cognitive Sciences of Music 16/1 (March 2012), 67-80.
Gratl, Franz. "Eine neue Quelle zur frühen Klaviermusik Joseph Haydns im Musikarchiv des Franziskanerklosters Bozen (Südtirol)." Haydn-Studien 9 (2006), 248-262.
Harrison, Bernard. Haydn's Keyboard Music: Studies in Performance Practice. Oxford Monographs on Music. Oxford: Clarendon, 1997. Reviews: Ann Bond, Musical Times 139 (Feb 1998), 29-31; A. Peter Brown, Music & Letters 79 (1998), 605-607; Daniela Philippi, Mozart-Jahrbuch 2000, 316-317; David Rowland, Early Music 26 (1998), 338-339.
Hui, Keri. "Choreographing Sensibility: Innocence and Politeness in Haydn's Hob. XVI:40 and 42."Music and Letters 102 (2021), 482-506.
____. "Sensibility in Haydn's Topical Art." Journal of Musicology 39 (2022), 432-468. Sonatas Hob. XVI:20 46 49.
Inman, Samantha. "The Inner and Outer Form of Haydn’s Monothematic Sonatas." Theory and Practice 41 (2015), 1-46.
Irving, John. "Haydn's Influence on Mozart's Sonatas, K. 279-84: Fact or Fiction?" Revue belge de musicologie 53 (1999), 137-150.
Liang, Yu-ling. "Franz Joseph Haydn's Keyboard Sonata Hob. XVI:20 in C Minor, First Movement, as a Pedagogical Resource for the Harpsichord." D.A. dissertation, University of Northern Colorado, 1992. Abstract in DAI 54/2 (Aug 1993), 365-A.
MacKay, James S. "Franz Joseph Haydn and the Five-Octive Classical Keyboard: Registral Extremes, Formal Emphases and Tonal Strategies." Canadian University Music Review 23 (2003)
______. "A Case for Declassifying the IAC as a Cadence Type: Cadence and Thematic Design in Selected Early- to Middle-Period Haydn Sonatas." Ad Parnassum 15/30 (2017).
Murphy, Scott. "Septimal Time in an Early Finale of Haydn." Intégral 26 (2012), 91-121. Sonata in A, H. XVI:12.
Oort, Bart van. "Haydn and the English Classical Piano Style." Early Music 28 (2000), 73-89.
Oppenheim, Ruth Ljerka. "Fermatas and Improvisation in Haydn's Piano Sonatas." D.M.A. dissertation, Stanford University, 1995. Abstract in DAI 56/6 (Dec 1995), 2039-A.
Pang, Ta-Hsi. "The Variation Technique in Selected Piano Works of Haydn, Mozart, Beethoven and Schubert: A Performance Project." D.M.A. dissertation, University of Maryland-College Park, 1998. Abstract in DAI 60/3 (September 1999), 589-A.
Petty, Wayne. "Cyclic Integration in Haydn's Eb Piano Sonata Hob. XVI:38." Theory and Practice 19 (1994), 31-55.
Plantinga, Leon, and Glenn Pierr Johnson. "Haydn's Andante von variazioni: Compositional Process, Text, and Genre." Studies in the History of Music 3 (1992), 129-67.
Pollack, Howard. "Some Thoughts on the 'Clavier' in Haydn's Claviersonaten." Journal of Musicology 9 (1991), 74-91.
Reece, Frederick. "Composing Authority in Six Forged 'Haydn' Sonatas." Journal of Musicology 35 (2018), 104-143.
Ryden, J. "Statistical Analysis of Golden-Ratio Forms in Piano Sonatas by Mozart and Haydn." Mathematical Scientist 32 (2007), 1-5.
Schafer, Hollace Ann. "Kindling the Compositional Fire: Haydn's Keyboard Phantasiren." In Critica Musica: Essays in Honor of Paul Brainerd, ed. John Knowles, 365-378. Musicology, 18. Amsterdam: Gordon and Breach, 1996.
Schulenberg, David. "C. P. E. Bach, Haydn and the Evolving Keyboard Idioms of the Later Eighteenth Century." Eighteenth-Century Music 21 (2024), 33-63.
Somfai, László. The Keyboard Sonatas of Joseph Haydn: Instruments and Performance Practice, Genres and Styles, trans. by the author and Charlotte Greenspan. Chicago: University of Chicago Press, 1995. Reviews: Malcolm S. Cole, Performance Practice Review 10 (1997), 116-23; W. Dean Sutcliffe, Music & Letters 79 (1998), 278-81.
Suurpää, Lauri. "Interrelations between Expression and Structure in the First Movements of Joseph Haydn's Piano Sonatas Hob. XVI/44 and XVI/20." Intégral 23 (2009)
Troeger, Richard. "Thoughts on Articulatory Notation in Haydn's Solo Keyboard Music." In Essays in Honor of Christopher Hogwood: The Maestro's Direction, ed. Thomas Donahue, 121-135. Lanham MD: Scarecrow, 2011.
Van Oort, Bart. "The English Classical Piano Style and Its Influence on Haydn and Beethoven." M.A. dissertation, Cornell University, 1993. Abstract in DAI 54/7 (Jan 1994), 2383-A.
Walter, Horst. "Eulenspiegeleien um Haydn. Der 'Notenfund' von Münster." Haydn-Studien 6 (1986-94), 313-317.
Webster, James. "The Triumph of Variability: Haydn's Articulation Markings in the Autograph of Sonata No. 49 in E Flat." In Tyson Festschrift, 33-64.
______. "The Rhetoric of Improvisation in Haydn's Keyboard Music." In Rhetoric, 172-212.
