Music analysis emerged in the late nineteenth century as an occupation in its own right, independent from the education of composers. This chapter uses three case studies to describe how and with what aims three authors, in analyzing music by Mozart, produced samples to which to compare his music. It thereby traces how a pairing of the notions of analysis and composition increasingly created room for a concept of synthesis that eventually replaced the notion of the “fine ear” for music with procedures devised by the analyst that take into account a genuine malleability of hearing and listening. The cases are Hermann von Helmholtz’s charts for indicating the harmoniousness of its component chords in Mozart’s Ave verum corpus, K. 618; Gottfried Weber’s fabricated alternatives to the famous dissonances opening the string quartet C major, K. 465; and, finally, Carl Stumpf’s comments on his listening of the Serenade B-flat major, K. 361, after having extensively used the first technical analysis and synthesis of the sound of musical instruments.