}
}
- \bookpart {
+ \bookpart {
\tocItem \markup { "II. " }
\score {
\header {
\concat { \if \on-page #19 \oddfoot }
\concat { \if \on-page #21 \oddfoot }
\concat { \if \on-page #23 \oddfoot }
+ \concat { \if \on-page #25 \fill-line { \null \tiny \typewriter \longHash \null } }
}
evenFooterMarkup = \markup {
\concat { \if \on-page #2 \evfoot }
% river project
+
backcover = \markuplist { \fill-line {
- \line { \null }
- \center-column {
- \vspace #1
- \line { \hbracket \bold \concat { "about " \xcomp } }
- \vspace #1
- \xbio
- \vspace #1.3
- \override #'(thickness . 5) \draw-squiggle-line #0.5 #'(20 . 0) ##t
- \vspace #1.3
- \override #'(line-width . 75) \justify \typewriter \tiny { This score was engraved on #(string-append (strftime "%m-%d-%Y" (localtime (current-time))) ",") using LilyPond version #(string-append (lilypond-version) ".") If you would like to view the most recent version of the input documents that generated it, visit \sans \bold https://github.com/tuckerjohnson/net-clarity.}
- }
- \line { \null }
+ \line { \null }
+ \center-column {
+ \vspace #16
+ \xbio
+ \vspace #2
+ \override #'(thickness . 5)
+ \draw-squiggle-line #0.5 #'(20 . 0) ##t
+ \vspace #2
+ \override #'(line-width . 100)
+ \justify \tiny \sans {
+ This score was engraved on #(string-append (strftime "%m-%d-%Y"
+ (localtime (current-time))) ",") using LilyPond version
+ #(string-append (lilypond-version) ".") If you would like to view the
+ most recent version of the input documents that generated it, visit
+ \sans \bold \concat { "https://github.com/tuckerjohnson/" \xtitle "." }
}
+ }
+ \line { \null }
+ }
}
\override #'(thickness . 5) \draw-squiggle-line #0.5 #'(20 . 0) ##t
}
- \column { \null }
+ \right-column {
+ \vspace #-0.5
+ \right-column \fontsize #-1 {
+ \line { \fontsize #-2 \typewriter { \shortHash - \subject } }
+ \line { \fontsize #-2 \typewriter { \commitDate } }
+ }
+ \vspace #2
+ }
}
}
\voiceTwo
\time 7/4 e,1-> 2.-> |
d2.-> d1~-> |
- d4 ees2.~-> 4 2~-> |
+ d4 ees2.~-> 4 2-> |
des2.->~ 8 8->~ 2. |
}
>>
\time 2/2 ees'2)\ff r8 e8( fis b,8) | %076
g( f\> ees bes'~ bes) a8(\f aes4\> | %077
des4) r8 d8( \after 8 \mf c4.) e8( | %078
- \time 3/4 d b a-.) c,,(\< ees,-.)\ff des'''(^\mp | %079
- bes c g-.) bes,,-.->\ff aes''(^\< ges | %080
+ \time 3/4 d[ b a]-.) c,,[(\< ees,]-.)\ff des'''(^\mp | %079
+ bes[ c g]-.) bes,,-.->\ff aes''[(^\< ges] | %080
\time 2/4 f8 ees4--)^\f \breathe d8(^\mp | %081
- \time 3/4 e a cis-.) f,,,(\< a-.)\ff ees''(^\< | %082
- ges b c-.)\mf d,,,-.->_\ff aes'''(^\< bes | %083
+ \time 3/4 e[ a cis]-.) f,,,[(\< a]-.)\ff ees''(^\< | %082
+ ges[ b c]-.)\mf d,,,-.->_\ff aes'''[(^\< bes] | %083
f' g4.~\f 4) \breathe | %084
\time 2/2 fes,,,4.--\mp aes''8(\f\> d, ees a,8)\! r8 | %085
des,4.--\mp bes'8(\f\< f' c'\! b-.) g,,_- | %086
d,8-.) des''8-- r8 c,( aes-.) g''-. aes(\f\stopTextSpan d,-.) \bar "||" | %107
\tempo 2 = 96
cis,( a-.) f''( ees-.) bes,( g-.) bes''( f-.) | %108
- \time 3/4 b,,( fis-.) c''-- d,,( e-.) b''( | %109
+ \time 3/4 b,,[( fis]-.) c''[-- d,,]( e[-.) b'']( | %109
\time 5/8 \ace a-.)\startTextSpan r8 ees,( f-.) ges'-.\<\stopTextSpan | %110
\tempo 2=104
\time 2/2 a-. c-. ees-. f~( 8 des'8--)\ff fes,,-.\> ges-. | %111
\undo \omit Score.BarNumber
\omit Staff.SectionLabel
fis,8.-- g16~->\mf\> g8 bes16-. c16-. e,16-. gis8( cis16)-.\p | %022
- r8[ d16(\< a16] b4)\mf b8 ees,8~\> | %023
- ees4 ees8-- r8 f8[-.\mp r16 f16]-. | %024
- r8 a8-. r16[\< cis16( e,8] b'8. fis16 | %025
+ r8 d16(\< a16 b4)\mf b8 ees,8~\> | %023
+ ees4 ees8-- r8 \once \override Staff.Beam.positions = #'(2.65 . 2.65) f8[-.\mp \override Rest.staff-position = #0 r16 f16]-. | %024
+ \revert Rest.staff-position
+ r8 a8-. r16\< cis16( e,8 b'8. fis16 | %025
bes16\f ees8.~ ees8 d8~ d4~ | %026
d8) r8 aes4 f'8-. c16-.\> g16-. | %027
\time 5/8 \after 4.. \mp R1*5/8 | %028
\time 6/8 e8(\p g e) g( e g) | %093
\time 12/8 aes( ges aes) ges( aes ges)\< aes( ges aes) ges( aes ges)\! | %094
\time 6/8 \voiceOne a4. r4. | %095
- \time 7/8 \oneVoice b8([\mp\> cis, b']) cis,([ b' cis, b']) | %096
+ \time 7/8 \oneVoice b8([\mp\> cis b]) cis([ b cis b]) | %096
<<
{
\voiceOne
- \time 12/8 c8_(\p f, c') f,_( c' f,) c'( f, c') f,( c' f,) | %097
- \time 7/8 ges8[_- r8 ges]_- r8 ges_- r8 ees_- | %098
- s2. r4. fis'4.~(^\mf | %099
- 8. | %100
- f!2.) | %101
- b,2.~ b2.~ 4. \mark \markup { \smaller \musicglyph "scripts.ufermata" } | %102
+ \time 12/8 c8_(\p f c) f_( c f) c( f c) f( c f) | %097
+ \time 7/8 ges8[_-\< r8 ges]_- r8 ges_- r8 ees_- | %098
+ \time 12/8 e_(\mp a e) a_( e a) e(\< a e) a( e a) | %099
+ \time 3/16 s8. | %100
+ \time 6/8 bes8(\mf g bes) g( bes g) | %101
+ \time 15/8 \molRit d'(\>\startTextSpan gis, d') gis,( d' gis,) d'( gis, d') gis,( d' gis,) d'(\pp gis, d')\stopTextSpan | %102
}
\new Voice \relative {
\voiceTwo
- s2. r8 des'4\mf des4.(-> | %097
- aes2.)\< s8 | %098
- \time 12/8 e'^(\mp a e) a^( e a) e(\< a e) a( e a) | %099
- \time 3/16 s8. | %100
- \time 6/8 g8(\mf bes, g') bes,( g' bes,) | %101
- \time 15/8 \molRit gis'(\>\startTextSpan d gis) d( gis d) gis( d gis) d( gis d) gis(\pp d gis)\stopTextSpan | %102
+ s2. r4 des'4\mf des4(-> | %097
+ aes'2.) s8 | %098
+ s2. r4. fis'4.~(\mf | %099
+ 8. | %100
+ f!2.) | %101
+ r8 b,8~ b2~ b2.~ 4. \mark \markup { \smaller \musicglyph "scripts.ufermata" } | %102
}
>>
\oneVoice
\sectionLabel \markup { \box \number 103 }
\tempo 2 = 48
- \time 2/2 \acePoc r2 f'8( b-.) r4 | %103
+ \time 2/2 \acePoc r2 f,8( b-.) r4 | %103
\time 5/8 r4\startTextSpan c,8([\< fis-.]) r8 | %104
\time 2/2 r8 bes,8( f'4) r8 ees8( a8-.) r8 | %105
r8 d,8( aes'-.) r8 r8 cis,8( g'-.) r8 | %106
\new Voice \relative {
\voiceTwo
<ees' f>4 r4 |
- fis2-> des8 \D \stemUp c b d \U |
+ fis2-> des8[ \D \stemUp c] b[ d] \U |
}
>>
\oneVoice
b16-. a-. g8-.\pp r8 e'8-. \once \override Staff.Beam.positions = #'(-3.85 . -3.85) cis[-. r16 d16]-. c8-. r8 | %005
\clef treble ees16-. f8-. fis16-. gis8-. ais8( b)-. c16(^\< d16~ d e a, g16~ | %006
\time 5/4 g8. ges16~ 8 f8~\mp 2.) | \clef bass %007
- \time 4/4 r8 cis16[-.^\pp dis16]-. \override Staff.Beam.positions = #'(-3.85 . -3.85) r16[ ais16-. r16 gis16]-. r16[ a16-. r16 b16]-. \revert Staff.Beam.positions e,-. d'8-. cis16-. | %008
+ \time 4/4 r8 cis16[-.^\pp dis16]-. \override Staff.Beam.positions = #'(-3.85 . -3.85) r16[ ais16-. r16 gis16]-. r16[ a16-. r16 b16]-. \revert Staff.Beam.positions e,-. d'8-. cis!16-. | %008
fis,16(^\mp aes8. g16)-. f-.^\pp^\< ees8-. c16-. bes8-. a16-.^\mp r4 | %009
r4 \once \override Staff.Beam.positions = #'(-3.85 . -3) r16[ des16-.^\pp g-. ges]-. bes,8-. ees8(^\< d8. c16~ | %010
c b8.~\mp 4) r8 gis8-.^\pp r8 e'8-. | %011
r2 \once \override Staff.Beam.positions = #'(-3.85 . -3.85) r16[ bes16-. r8] \once \override Staff.Beam.positions = #'(-3.85 . -2.5) r16[ g16-.^\< aes-. bes]-. | %015
r16[ c,-. des-. f]-. ees8-. r8 d-. e-. fis16-. g8.(^\mf | %016
a,2) b8.( g'16~ 8) bes,16-.^\p e-. | %017
- r16[ ges-. r16 c,]-. r8.[ des16]-. ees,2~^\mf | %018
- 8. a16(^\> d8 f8~ 16[ b16)-.^\p r8] r8.[ fis,16]-.^\< | %019
- g16-. c16-. d16-. e16-. a16-. bes8.--^\mf r16[ ees,16-.^\< r16 f16]-. aes8[-. r16 ces16]-. | %020
+ \once \override Staff.Beam.positions = #'(-3.85 . -3.85) r16[ ges-. r16 c,]-. r8.[ des16]-. ees,2~^\mf | %018
+ 8. a16(^\> d8 f8~ 16[ b16)]-.^\p r8 \once \override Staff.Beam.positions = #'(2.5 . 1) r8.[ fis,16]-.^\< | %019
+ g16-. c16-. d16-. e16-. a16-. bes8.--^\mf \once \override Staff.Beam.positions = #'(-3.85 . -3.85) r16[ ees,16-.^\< r16 f16]-. \once \override Staff.Beam.positions = #'(-3.85 . -3.85) aes8[-. r16 ces16]-. | %020
\override Staff.Hairpin.stencil = ##f
\time 3/4 des8-.\f r8 a16-.^\pp gis16-. f8-. b,16( cis8.) | %021
\override Staff.DynamicText.stencil = ##f
d8.-- <ees ees,>16~->\mf <ees ees,>2 | %022
- r8[ fis16(\mp\< c16] g8~\mf <g e'>8~ <g e'>16) bes8(\> f16 | %023
+ r8 fis16(\mp\< c16 g8~\mf <g e'>8~ <g e'>16) bes8(\> f16 | %023
cis8 gis'8 fis16 b,8-.) c16( d8-.)\mp bes16-. e16-. | %024
- r16[ g16-. r16 ees16]-. a,4(\< aes4 | %025
+ \once \override Staff.Beam.positions = #'(2.65 . 2.65) r16[ g16-. r16 ees16]-. a,4(\< aes4 | %025
g16\f c8.~ c8) f16_(~ <f a'>16~ <f bes a'>4~ | %026
<f bes a'>16) cis'16( dis8~ <dis e,>8.) fis,16-. d'8-.\> r8 | %027
- \time 5/8 a'16[-. e16-. r8] b16[-. fis8-. cis16-.\p r8] | %028
+ \time 5/8 a'16-. e16-. r8 b16[-. fis8-. cis16]-.\p r8 | %028
c16[(\< ees8.]~ ees8) <bes bes'>4-> | %029
\time 2/8 <f f'>8[->\f\> <d' d'>8]-> | %030
\time 3/4 <g, g'>2.\mf\fermata | %031
\tempo 2=96
+ \revert Rest.staff-position
\time 2/2 b8-.\p r8 r4 r8 d8-. g8-. r8 | %032
e8-. f8-. r4 r8 ees8-. r4 | %033
r2 ges8-. bes,-. r8 des-. | %034
\time 3/2 a8-.\mf r8 r4 r4 c2.( | %036
\time 2/2 bes8-.)\< r8 e'8( d cis b a gis) | %037
r2\f r8 c8-. r4 | %038
- \time 3/4 ees8-.\> f-. fis( g) e-. d-. | %039
+ \time 3/4 ees8[-.\> f]-. fis[( g]) e[-. d]-. | %039
\time 2/2 cis2..\mp f8-.\p | %040
ees(\< aes) g( c)\mf r2\sustainOn | %041
R1 | %042
teaching.
}
\vspace #0.8
- \override #'(line-width . 75) \justify \tiny {
- Tucker's music has been concertized and honored at festivals and events,
- including the Dot-The-Line new music festival (Seoul), Longy Divergent
- Studio (Boston), soundSCAPE Festival (Cesena), Composing in the
- Wilderness (Prince William Sound & NYC), Shastra Rhythm Workshop (New
- Jersey), and the Penn State New Music Festival (State College). In 2021,
- he was awarded the Marjorie Jane Brewster Memorial Music Scholarship,
- given to one graduating Penn State student each year to pay for graduate
- studies at another institution. Additional honors include the Belle S.
- Gitelman Prize, Peter T. Luckie Award, and Warren Benson Scholarship.
- }
- \vspace #0.8
- \override #'(line-width . 75) \justify \tiny {
- A consistent supporter of new music, Tucker has helped organize many
- events, festivals, and concerts and served various music organizations
- throughout his academic career. Currently, he serves as technical
- director of OSSIA New Music, a student-run organization at the Eastman
- School of Music committed to performing the works of contemporary
- composers. He has also worked with the Hochstein School, WXXI Classical,
- Penn State's Living Music, and the New Music Consortium. Additionally,
- Tucker serves as a sound engineer, technician, and teaching assistant
- with the Electronic Music Studios at Eastman (EMuSE) and has produced and
- performed dozens of electroacoustic works in this position with artists
- such as Alan Pierson, percussionist Dan Druckman, and soprano Jamie
- Jordan.
- }
- \vspace #0.8
- \override #'(line-width . 75) \justify \tiny {
- In his research, he has worked to develop approaches to music composition
- and collaborative improvisation using mathematics, networked computer
- instruments, machine listening, ambisonics, and other computer-assisted
- methods, with a tendency to favor recycled and reclaimed computer
- hardware. Listeners can hear this work in improvised performances with
- Belgian saxophonist Floris Van Der Veken, recordings with
- percussionist/guitarist John McGovern, and performances with Ossia New
- Music.
- }
- \vspace #0.8
- \override #'(line-width . 75) \justify \tiny {
- He holds the MA and Catherine Filene Shouse Arts Leadership Certificate
- from the Eastman School of Music and the BM from Penn State University.
- He also studied at the University of South Florida. He has studied with
- Robert Morris, Matthew Barber, David Liptak, Baljinder Sekhon, Sarah
- Genevieve Burghart Rice, and Susanna Hancock. Tucker serves as instructor
- of the Penn State Young Composers Institute, a virtual program for high
- school students running in the fall and spring.
- }
- \vspace #0.8
- }
+ }
}