It is hardly innovative to suggest that many of the works of Franz Joseph Haydn are humorous. With this project I take a new approach to musical humor. I employ three traditional humor theories-Superiority, Relief, and Incongruity Theories-as I explore the finales of Haydn's Op. 33, nos. 2 and 3. Building upon work by Gretchen Wheelock (1979, 1992), George Edwards (1991), and others, I explore these movements and their humorous moments through the lenses of historical humor philosophy. Because each theory relies on distinct situational elements to explain humor and laughter, my approach results in multiple unique and nuanced readings of the same musical passage. My goal is to add a layer of specificity atop the literature already present. We recognize that these particular passages by Haydn are funny, and in most cases we even understand the musical devices at play in enacting that humor. Yet why, specifically, do we laugh? Traditional humor theories tell us that we are either laughing at someone (Superiority Theory), laughing to release pent-up energy and emotion (Relief Theory), or laughing because our experience contrasts glaringly with our expectations (Incongruity Theory). This multi-faceted approach to the chosen works provides insight into subconscious elements of the listening experience, allowing us to look inward and examine our specific psychological and physiological relationships with the music.