美国博士申请：海顿的古典风格
只有一些关于艺术的书籍，如音乐，受到查尔斯·罗森的古典风格的直接或持续的影响。罗森提出的关键信念在最近几十年里可能受到了很大的压力，但这不能导致改变关于案文的基本地位。罗森以他自己的观点断言，任何有关这项工作的修改都可能导致遥远的联想。无论如何，这是必须避免的。因此，该测试不仅在语篇模式上，尤其是在其作品的解读上，都有其激进的一面。这一点现在已经变得模糊，因为它同时关注与风格相关的规范方面。这是近年来一直受到抨击的事实，也是罗森强调解决和终结作为真正美学经典的本质属性。这种语言规范的描述伴随着一种史学方法，这种方法不仅具有包容性，而且具有排他性。
尽管同时期弦乐四重奏在Op. 2和Opp. 1中享有盛名，但是海顿最终并没有触及Op. 9下的音源。这可能是因为埃斯特哈齐在1761年以副总督卡佩尔梅斯特的身份在法庭上占有了全部财产，随后在1765年完全成为卡佩尔梅斯特(Fisher, 1992)。在处理新品种的主要组成部分，节日康塔塔舞曲，歌剧和交响乐的时候，职责是广泛的，到18世纪70年代中期，总共有126个三重奏，其中以尼科劳斯王子最喜爱的乐器巴莱顿为特色。人们发现王子提出了具体的要求，在1765年海顿的作品中，海顿需要更多的能量:
“最后，”卡佩尔迈斯特说，“迫切地要求海顿比以往更勤奋地从事写作，特别是要写出能在巴莱顿琴上演奏的曲子，到目前为止，我们很少看到这样的曲子;为了能够判断他的勤奋，他将始终把每一篇作文的第一份干净仔细地抄送给我们”(Denes, 1965;420)。
人们看到王子背叛了他对巴雷顿作品的老式品味，同时又渴望严格控制海顿的音乐作品。可以看出，学者们推测，海顿开始在《恩特沃夫-卡塔洛格》中收录他所记录的作品列表，部分原因是由于对秩序内无生产力的指责。在任何事件中，这句话都可以被认为是海顿在这一时期的大部分创作活动都是由贵族培养和控制的。
美国博士申请：海顿的古典风格
Only some books over art as music have had the influence of either immediate or sustained nature, of the classical style by Charles Rosen. The key belief that Rosen laid down might have been subjected to, much pressure in the recent decades but this cannot lead towards altering the essential status with regard to the text. Rosen, in his own sense, averred that any revision with regard to the work could have led towards distant association. This by all terms had to be avoided. So, the test has a radical side not only in historic terms with regard to discourse mode and particularly in its works interpretation. This now has become obscured through its concomitant focus over the style related normative aspects. This is the fact that has been in attack since the recent times that is the stress laid by Rosen on resolving and closure as essential properties of true aesthetics classic. This language normative description goes along with a historiographical approach which is not only inclusive but also exclusive.
Irrespective of the contemporaneous famousness across the string quartet Opp. 2 and Opp. 1, however, Haydn did not end up touching the source under the Op. 9. This had been probably because of the preoccupied possession to engage at the court of Esterhazy as the vice, Kapellmeister in the year 1761, followed by fully becoming the Kapellmeister in the year 1765(Fisher, 1992). The duties had been extensive while dealing with the primary composition of new cultivations, festive cantatas, operas, and symphony of what would be amounted by the mid- 1770s to 126 trios that featured the baryton that is the favorite instrument of Prince Nicolaus. The Prince had been found placing specific demand for which more energy had to be exerted by Haydn in works of baryton in the year 1765:
“Finally, said Capelmeister [sic] Haydn is urgently enjoined to apply himself to composition more diligently than heretofore, and especially to write such pieces as can be played on the gamba [baryton], of which pieces we have seen very few up to now; and to be able to judge his diligence, he shall at all times send us the first copy, cleanly and carefully written, of each and every composition” (Denes, 1965; 420).
The Prince had been seen betraying the old- fashioned taste that he preferred for the works of baryton, with the simultaneous communication of desire for strictly controlling the musical production of Haydn. Scholars can be seen speculating that it was partially because of accusations regarding non- productivity within the order that Haydn started incorporating list of his recorded compositions within the Entwurf- Katalog. As in the case of any event, the quote can be considered for indicating that majority of the creativity activity of Haydn in this period had been both, cultivated and controlled by the aristocracy.
