Chant and Invocation For SATB Choir

Transcription

1 Chant and Invocation o Choi Mak aughn 2015i

2 Chant and Invocation Witten by: Mak aughn o: Choi Duation: 2.5 Denton, exas Novembe, Mak aughn

3 note on the text: he text o this wok is entiely compised o the wods and numbes that ae displayed at the top o the page when you open acebook s mobile application o ihone, povided you ae a eizon custome. I you ae not a eizon custome, I assume the app displays the name o whateve povide you happen to use. I tanscibed this inomation into poetic vese ive times in a ow one night. s I tanscibed, both the battey lie and the clock time changed. his execise was diectly inluenced by the poet Kenneth Goldsmith s wok. he activity o content cuation is the way in which digital inomation is oganized and pesented to us by websites, tech companies, gaphic atists, etc. he way in which that inomation is pesented to us inluences the way in which we peceive it. he text I chose is changed only by the way it is oganized and pesented, othewise it is a tansciption o a moment in time that eoccus evey night. aiants on this text ae encounteed by millions o people evey day. hough I do not wish to tell othes what this piece should mean to them, I can say why I wote it. I eel that the text in this piece unctions as the eve-pesent lens though which all othe events within the piece ae peceived. his is a metapho o the digital lenses that mediate the events o ou lives. he text mediates the music, though it has no paticula elationship to it. hee is one textual addition to the piece, apat om the textual indications, that is not a tansciption. he title is a eeence to the talismanic ole ou phones play and the powe we invoke though them. his piece is not meant to moalize o to take a stance upon this state o aais, only to utilize some mateials that ae unique to this place, time, and histoical moment.

4 Chant and Invocation eizon Eight twenty-seven p.m. wenty-ou pecent each tatus hoto What s on you mind eizon Eight twenty-eight p.m. wenty-ou pecent each tatus hoto What s on you mind eizon Eight twenty-nine p.m. wenty-thee pecent each tatus hoto What s on you mind eizon Eight thity p.m. wenty-thee pecent each tatus hoto What s on you mind eizon Eight thity-one p.m. wenty-two pecent each tatus hoto What s on you mind

5 eomance Notes I possible the stating pitch o the choi should be given by sending a text message to one o seveal membes o the choi who own an ihone. he alet o the text message should be set to, LER ONE Note. his pitch is a C natual and will allow the choi to ind thei stating pitch a peect outh below. he phones should then be silenced beoe the piece begins to avoid impomptu calls duing the peomance.

6 -- his page intentionally let blank - -

7 opano lto eno ass q = 55 non-vibato e. - i - zon Eight - twen - ty se - ven p. m.. Eight twen - ty se - ven p. m.. e i zon (monotone) (monotone) (monotone) Eight twen - ty se - ven p. m. Mak aughn 3 wen-ty ou pe - cent What's on you mind 2 2 each ta - tus ho-to What's on you mind What's on you mind (seiously) 2 e - i - zon Eight twen-ty eight p. m... (seiously) 2 Eight twen-ty-eight p. m... (seiously) 2. R Eight twen-ty eight p. m. (seiously) eight p. m Mak aughn

8 8 9 wen-ty ou pe - cent ta - tus R pe-cent each ho-to e- pe-cent each wen-ty ou pe - cent ta - tus ho-to ho-to (elaxed) (elaxed) (elaxed) you mind (elaxed) you mind (slightly melancholy) (slightly melancholy) 13 (agitated) (happy again). i - zon Eight twen-ty nine p. m. thee pe - cent each ta - tus (slightly melancholy). R e-i - zon (slightly melancholy). R e-i - zon Eight twen-ty nine p. m. wen - ty thee pe - cent each ta - tus (agitated) p. m. (agitated) nine p. m. (agitated) n thee pe - cent each ta - tus (happy again) (happy again) (happy again) wen ty thee pe - cent each ta - tus 16 n ho-to Eight ho-to ho-to n What's on you e - i - (oyully) (oyully) n n (oyully) (oyully) (bubbly) zon n (bubbly) (bubbly) n (bubbly) Eight

9 9 19 (manic) # (sae and content) (manic) p. m. (manic) n p. m. # wen-ty thee pe-cent each ta-tus ho-to Check n wen-ty thee pe-cent each seach ta-tus ho-to Check # n # (sae and content) # (sae and content) Eight thi-ty p. m. (manic) # # wen-ty thee pe-cent each ta-tus ho-to Check # (sae and content) Eight thi-ty p. m. wen-ty thee pe-cent each ta-tus ho-to Check 22 # n (ecstatic) # In What's on you #. # mind # Eight thi-ty # Ó (ecstatic) # # # In e-i - zon (ecstatic) # n # In # n (ecstatic) # n n In e-i - zon 25 (yeaningly) b Eight thi-ty one p. m. wen-ty two pe-cent wen-ty two pe-cent each ta-tus ho-to (yeaningly) # Eight thi-ty one p. m. wen-ty two pe-cent wen-ty two pe-cent each ta-tus ho-to (yeaningly) Eight thi-ty Eight thi-ty one p. (yeaningly) n b Eight thi-ty one p. (as i tansixed) (as i tansixed) # (as i tansixed) m. wen-ty two pe-cent pe-cent each ta-tus (as i tansixed) m. wen-ty two pe-cent each ta-tus ƒ. (elease) ƒ (elease) ƒ. (elease) ho-to ƒ (elease) ho-to

10 10 28 ƒ. 31 Check In ƒ. Check In ƒ. Check In ƒ. Check (tiumphant) (tiumphant) (tiumphant) (tiumphant). In i - zon. (as i emembeing something). (as i emembeing something). (as i emembeing something) (as i emembeing something) Eight thi-ty two p. m. wen-ty two pe - cent each ta - tus Eight thi-ty two p. m. wen-ty two pe - cent each ta - tus Eight thi-ty two p. m. Eight thi-ty two p. m. (butally) (butally) (butally) e - wen-ty two pe - cent each ta - tus (butally) wen-ty two pe - cent each ta - tus p ho - to p (esignedly) ho - to (esignedly) it. (indieently) it. (indieently) p (esignedly) ho - to it. (indieently) p (esignedly) ho - to it. (indieently)