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For her third studio album, Solar Power (2021), she ventured into indie folk and psychedelic styles. Lorde's second studio album Melodrama (2017) received widespread critical acclaim and debuted atop the US Billboard 200. The following year, Lorde curated the soundtrack for the 2014 film The Hunger Games: Mockingjay – Part 1 and recorded several tracks, including the single ' Yellow Flicker Beat'. Her debut studio album Pure Heroine was released that same year to critical and commercial success. The EP's international chart-topping single ' Royals' helped raise Lorde to prominence.

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Their first effort, an extended play (EP) titled The Love Club, was self-released in 2012 for free download on SoundCloud before UMG's commercial release in 2013. She signed with Universal Music Group (UMG) in 2009 and collaborated with producer Joel Little in 2011 to start recording music. Lorde expressed interest in performing at local venues in her early teens. Her music is primarily electropop with elements of dream pop and indie-electro. Taking inspiration from aristocracy for her stage name, she is known for her unconventional musical styles and introspective songwriting. See Fuller, Sarah, ‘ Discant and the Theory of Fifthing’, Acta Musicologica, 50 ( 1978), 241–75 CrossRef Google Scholar.Ella Marija Lani Yelich-O'Connor (born 7 November 1996), known professionally as Lorde ( / l ɔːr d/ LORD), is a New Zealand singer-songwriter. Roger Bragard, ed., Jacobi Leodiensis Speculum musicae, Corpus scriptorum de musica, vol. It may relate to the harmonic practice noted by Jacques de Liège as deriving its name from the interval most used, such as ‘fifthing’ and ‘fourthing’ (‘diapentizare vel quinthiare … quartare sive diatesseronare’). Such harmony is commonplace in the compositions of the manuscript. The parallel harmony used here (and at cadences in B6 and R5, see Bain, Jennifer, ‘ Theorizing the cadence in the Music of Machaut’, Journal Music Theory, 47 ( 2003), 325–362, at 342 CrossRef Google Scholar) is found also in the first of the complete estampies of the Robertsbridge Codex (London, British Library, Add.

Similarly, the anacrusis into the fourth phrase of B10 is included within the declamation of the line (at breve 14, ‘se souvent’) but not into the second phrase of the second part (breve 5 of the second part, ‘en vous’).Ģ7 Much has been made of the contrapunctus model of harmony in fourteenth-century polyphonic music, but it is important not to overlook other types of chord progression available to composers. In B3, the cadence of the first main phrase lasts a long (at breve 9) that of the following phrase lasts just a breve (at breve 17). These inconsistencies are justified by their occurrence in the actual phrasing of Machaut's songs. In the oultrepasse the two types occur one after the other (breve-cadence for the opening heptasyllable, long-cadence for the ensuing trisyllable). In the second line, however, the cadence of the first pentasyllable lasts just a single breve. In that case, the cadence is taken as lasting a long. For example, in the first line of B9, the anacrustic eighth breve is not counted as part of the following heptasyllable, although the same figure occurs within the phrase four breves later. An issue arises here in the recognition of phrase boundaries: the length of cadences and the treatment of anacrustic elements. The comments on 73 are particularly salient.ġ3 The analyses that follow use the concept of implied declamation to explain the detachment of musical phrasing from the poetic form. See Bent, Margaret, ‘ The Machaut Manuscripts Vg, B and E’, Musica Disciplina, 37 ( 1983), 53–82, esp. Yet it also contains highly corrupted readings derived from Mach-B, added voice-parts that are not (or probably not) by Machaut (e.g., contratenors of B20, B23) and shows a dependency at times on repertory manuscripts outside Machaut's sphere. It presents some additional voice-parts that are credible as the work of Machaut (e.g., contratenors of B27, R7, triplum of B31). Some of its copies present texts that are superior to those found in the other Machaut Music Manuscripts (e.g., triplum of R9, tenor of R21 – yet the textual superiority in this latter case is paradoxical as the copy is inferior for lack of the contratenor, not an optional voice here). It is the unique source for Machaut's final two lais yet it lacks other pieces (e.g., Hoquetus David) from the oeuvre. 8 Mach-E is a source whose authorial status is puzzling.

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