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This research project presents a critical analysis of the published scholarship with regard to technique, aesthetics, and style as part of the pedagogy of composition, with a focus on Ludwig van Beethoven and his teachers, and the evolution of compositional pedagogy that occurred in the eighteenth century. In the continually evolving world of composition, technique, aesthetics, and style have remained three important issues with regard to compositional pedagogy. Evidence of this importance is found in pedagogical relationships as early as the sixteenth century. The manner in which composition was taught also remained consistent throughout Johann Sebastian Bach’s pedagogical associations as a teacher. Although these issues continued to be influential to the development of student composers, an especially significant evolution of compositional pedagogy occurred in the last half of the eighteenth century, which is first evident with the Beethoven generation of composers. It was during this time in which composition pedagogues began to focus on theoretical technique as the primary method of teaching composition. Alfred Mann described this evolution as the “Rise of Conventional Theory.” Possibly the best example of this pedagogical evolution is found in the advanced composition lessons, centered on Fuxian eighteenth-century counterpoint, in which Beethoven engaged with Joseph Haydn and Johann Albrechtsberger. Even though technique was the primary focus of these master-apprentice relationships, aesthetics and style also manifested themselves in sometimes indirect ways. The changes in compositional pedagogy that occurred in the last half of the eighteenth century had a profound and direct effect not only on the way in which master composers have taught and continue to teach their students, but also on the development of academic music curricula.