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The tonal organization of the first-movement development sections of ten Haydn symphonies (nos. 1, 4, 6, 10, 13, 15, 19, 24, 31 and 72), all in D major composed between 1758 and 1765, is directly linked to eighteenth-century theories of modulation. The recent theoretical or musicological literature, with the exception of H. C. Robbins Landon's Haydn: Chronical and Works (1976--1980), has concentrated on Haydn's later high classical style generally ignoring these earlier works composed during his largely self-didactic, most formative years. After evaluating the analytical procedures established by Webster (1991), Wheelock (1992), Sisman (1993) and Haimo (1995) in chapter one, chapter two reviews tonal theories of some eighteenth-century writers. Chapter three presents analytical observations on the Morzin Symphonies (nos. 1, 15, 4, 10). Chapter four extends the discussion of chapter two and focuses on theoretical concepts that determine rank ordering of scale-steps in relation to the tonic. Chapter five focuses on tonal procedures employed in the developments of early Esterhazy symphonies (nos. 6, 13, 72, 24, 31) all of which feature cadentially-confirmed tonicizations of scale-step vi paired with recapitulatory from the main theme. (Abstract shortened by UMI.)

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