Matthew L. C. Boyle
Music Theorist

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“Galant Recitative Schemas.” Journal of Music Theory 59/1 (2015): 1–62.

Example 1
J. Haydn, The Creation, no. 14a (mm. 1–4)
Example 2
G. Rossini, Il barbiere di Siviglia, act 1, scene 4 (m. 1)
Example 4
W. A. Mozart, Le nozze di Figaro, act 2, scene 2 (m. 1)
Example 5b
G. F. Handel, Serse, act 1, scene 1 (m. 4)
Example 5c
G. F. Handel, Serse, act 1, scene 3 (mm. 9–10)
Example 5d
G. F. Handel, Serse, act 1, scene 14 (mm. 10–11)
Example 6a
G. F. Handel, Serse, act 1, scene 3 (mm. 3–4)
Example 8
W. A. Mozart, Don Giovanni, act 1, scene 2 (mm. 10–13)
Example 9
L. Vinci, Artaserse, act 3, scene 11 (mm. 79-85)
Example 11a
W. A. Mozart, Le nozze di Figaro, act 1, scene 1 (mm. 2-5)
Example 11c
A. Salieri, Falstaff, act 1, scene 3 (mm. 62-64)
Example 20
G. B. Pergolesi, Adriano in Siria, act 1, scene 6 (mm. 38-39)
Example 21a
W. A. Mozart, Le nozze di Figaro, act 1, scene 2 (mm. 18-19)
Example 21b
G. B. Pergolesi, La serva padrona, act 1 (mm. 13-14)
Example 23
W. A. Mozart, Le nozze di Figaro, act 3, scene 10 (mm. 8-10)
Example 24
W. A. Mozart, Così fan tutte, act 1, scene 4
Example 26
W. A. Mozart, Così fan tutte, act 1, scene 5
Example 27
W. A. Mozart, Così fan tutte, act 1, scene 7
Example B1
L. Vinci, Artaserse, act 3, scene 11 (mm. 41-85)