This thesis consists of the graduate recital and the lecture recital both performed by the researcher. The graduate recital includes the program and program notes. The lecture recital includes the research paper focused on W. A. Mozart’s Fantasia in d minor, K. 396, F. J. Haydn’s Fantasia in C major, Hob.ⅩⅦ: 4 and F. Mendelssohn’s Fantasia in f-sharp minor, Op. 28.

The research paper for the lecture recital comprises six chapters. Chapter 1 describes the preface. Chapter 2 discusses the transformation of the Fantasia types in the history of music. Chapter 3 investigates W. A. Mozart’s Fantasia in d minor, K. 396. Chapter 4 investigates F. J. Haydn’s Fantasia in C major, Hob.ⅩⅦ: 4. Chapter 5 investigates F. Mendelssohn’s Fantasia in f-sharp minor, Op. 28. Chapter 6 includes the conclusion.

Fantasia comprises of improvisatory technique, free sectional and bountiful imagination. This study focused on the fantasy technique of three Fantasias, and discussed how composers presented individual fancy styles in composing Fantasia.