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초록

Haydn's witty and humorous effect in his music has often been compared to that of the contemporary English novelist Laurence Sterne, for they both used the very artificialities to call attention of their readers or listeners. The artificialities of Haydn consisted of sudden contrasts in effects, styles, topics and affects, as well as rational deceptions which led to compositional surprises, and such techniques attract the listener's participation to the work. His musical languages freed his works from conventions in form or genre by refusing normal definitions and created Haydn's musical irony which has consistently been compared to Sterne's 'romantic irony.'The paper discusses what artificialities Haydn used and how he made irony out of them by referring to his String Quartets Op. 33. This paper classifies them into three distinct categories: negation of fixed genre type in the minuet movements; the subversion of sonata form in the first movements; and the deviation of repeated formal conventions in the finales.

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