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    This lecture explores and outlines the Beethovenian Style, in which Beethoven takes existing, widely-understood aspects of form and style and monumentalizes them.
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    With Beethoven, a new attitude towards art developed. Instead of being the humble servants of the wealthy who composed when told to, artists now were superior and enlightened. With that enlightenment and superiority, previous and traditional boundaries in music composition were pushed further than ever before.
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    In this lecture, we observe and analyze the relationship between Wolfgang Amadeus Mozart and his father. Concerto form is also introduced.
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    Haydn's and Mozart's compositional styles are compared and contrasted in great detail in this lecture.
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    As Sonata Form is introduced, today's lecture poses the historical question of whether music does in fact get simpler as time moves on...or just more complex.
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    Josef Haydn was the last of composers to compose in an old fashioned style as the household musician to Prince Nicholas the Great of Esterhazy. Because he was not dependent of public support for his works, he had the ability and freedom to compose in a variety of different styles.
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    Gluck's "Operatic Manifesto", or "reform" created and utilized a classical aesthetic with the repetition of simple elements in a "perfect order". Using dramatic integration and expected syntax, tremendous power was generated in these operas through a variety of means and very predictable materials.
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    With Rousseau's introduction of opera buffa to France, its popularity grew rapidly. People wanted to watch characters that were relatable to everyday life. The basso buffa and patter songs set the tone for all future operas from this time forward.
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    This lecture introduces students to Music of the Western Art Tradition as a classical order emerges at the conclusion of the Baroque Period. New ideas in composition, form, and style of writing stem from Europe's Enlightenment period as a merchant class emerges and the shift in how people think begins.

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