This postgraduate specialist research paper entitled Articulation in Mozart's and Beethoven's Piano and Violin Sonatas is divided into four larger parts. In the first part, called Articulation, I described how the meaning and notation of articulation have changed in the course of history. I also elaborated on the sound image of the Classical period, i.e., explained technical performance of instruments and bows at the time, and why it was so closely linked with the performing of articulation. I dedicated the second part, entitled, Staccato, to the study of a certain type of articulation – staccato. Although a musicological research of 1954 concluded that Mozart used two signs to mark staccato, and thus included both dots and wedges into the Neue Mozart Ausgabe, further studies showed it to be a wrong conclusion after all. Using different historical sources - such as manuals at the time, the composers’ manuscripts and first editions - I tried to prove that Mozart and Beethoven did not intentionally use two signs to mark staccato. In the third part, entitled Articulation in Sonatas, comparative analysis of certain movements in sonatas of the aforementioned composers shows how they employed articulation to achieve structural clarity of a piece, and how they used articulation to create contrast between certain movements, as well as between smaller sections within a movement. In the fourth part, called Interpretation, I explained the importance of determining character of particular works, and tried to conjure up Mozart’s and Beethoven’s attitudes toward performance on the basis of their letters. My main sources for defining interpretations at the time were Türk's Klavierschule and Czerny's reviews of the interpretation of Beethoven's works.