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How do composers reach their audiences? If we accept as valuable the traditional distinction among composers, performers, and listeners—roles that are not mutually exclusive of one another—then we might say that the search for an answer to this question forms an essential component of the activities of various musicians, irrespective of their individual callings as historians, theorists, analysts, and critics. The subject is just as relevant today as it was in 1781 when Wolfgang Amadeus Mozart, writing to his father from Vienna, described in fascinating detail the composition of portions of his operaDie Entführung aus dem Serail.¹