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“This year’s winner of the Roland Jackson Award addresses 'the communicative processes that linked composers, performers, and audiences in the long eighteenth century.' Taking up in masterly fashion the concept of compositional schemas, Nathaniel Mitchell leads us through close readings of core musical expressions from the Italian galant and, through the works of the Naples-trained Hasse, the glories of the Dresden court. Along the way we are introduced to a dynamic new schema and begin to see other well-known schemas in a new light. We may notice how, viewed through eighteenth-century Italian solfeggio syllables, these chromatic musical gestures danced and pivoted as mi-fa in one voice joined with fa-mi in another, only then to have those syllables reverse in a delightful art of combinations. The article engages with the analytic concerns of this century in a way that still acknowledges the observations voiced in eighteenth-century treatises.”