Example 12. Backbeat schema for the second riff of “Someone to Save” (0:40–1:02). More

Figure 1. Modification of Lowe's (2003) schema of interpretation as mediator between analysis and performance. More

Appendix Figure 2-1. Eight types of CM schema. More

Appendix Example 3-1. Dor in no. 6 (“Dorinda”) mm. 1–4; the three-chord schema is repeated immediately a third higher. More

Appendix Example 3-2. Dor in no. 5 (“Ma se con la pietà”) mm. 23–27; the schema, marked with a bracket, is buried in a longer line; the quinto (stems down in mm. 25–26) has the characteristic ascending steps in the highest voice, but the last chord is a six-three chord; the schema is preceded More

Appendix Example 3-5. The O Bellezza schema in no. 2 (“O Mirtillo”), mm. 1–2. More

Appendix Figure 2-2. The contrary motion schemata in the first thirteen madrigals of book 5, by the measure number at the beginning of the schema (those shown in Example 5 are asterisked). The parentheses at m. 22 of no. 9 indicate a fragment of the CMx schema. More

Example 9. Mm. 14–27 of no. 13, “M' è più dolce il penar” (asterisks in mm. 23–26 show the non-resolving leading tone schema described in Appendix 3 ). More

Example 1. Partial paraphrase of Gjerdingen ( 1988 : 26, example 2-11), the opening melody of Mozart's Piano Sonata K. 283, first movement, as a Meyer schema and network of relations, with hexachordal solmization syllables added by the reviewer. More