The Present study focuses on the publishing, dissemination, and reception of Beethoven's music during his lifetime and after his death. The common and different aspects among Beethoven, Mozart, and Haydn in these three fields were investigated. Since the active working periods of the three composers were different within the range of 1770-1810's, the practices of publishing and dissemination changed. Since the music market was rapidly growing, therelationship between the composer, publisher, and the public was also changing. As a result, the process of reception of Beethoven's music was quite different from that of the previous time. This paper especially put focus on the early phase(1792-1803) of Beethoven in Vienna. The process of construction as a new master composer in the musical world of Vienna was also discussed. In addition, the role of supporting groups for Beethoven among aristocratic salons wasinvestigated. The changes in musical taste and ideology were also illuminated. Furthermore, the roles of published edition and reviews of music journals such as Allgemeine Musikalische Zeitung, Berliner Allgemeine Musikalische Zeitung, Wiener Allgemeine Musikalische Zeitung, and Caeciliain the reception of Beethoven's music were discussed.