From 97b582555fbaf98c2d7bc7c90c50cd05d8ce99eb Mon Sep 17 00:00:00 2001 From: Tucker Johnson Date: Sat, 8 Jun 2024 13:08:12 -0400 Subject: [PATCH] formatting --- book.ly | 2 +- eng-files/paper.ly | 1 + front-matter/back cover.ly | 31 +++++++++++++-------- front-matter/front matter.ly | 9 +++++- manuscripts/III-piano.ly | 2 +- manuscripts/IV-clarinet.ly | 10 +++---- manuscripts/IV-piano.ly | 54 +++++++++++++++++++----------------- variables/bio.ly | 50 +-------------------------------- 8 files changed, 64 insertions(+), 95 deletions(-) diff --git a/book.ly b/book.ly index e07ccfd..803de59 100644 --- a/book.ly +++ b/book.ly @@ -39,7 +39,7 @@ } } - \bookpart { + \bookpart { \tocItem \markup { "II. " } \score { \header { diff --git a/eng-files/paper.ly b/eng-files/paper.ly index d81da35..8087aec 100644 --- a/eng-files/paper.ly +++ b/eng-files/paper.ly @@ -64,6 +64,7 @@ \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 } diff --git a/front-matter/back cover.ly b/front-matter/back cover.ly index f79188d..e6184ac 100644 --- a/front-matter/back cover.ly +++ b/front-matter/back cover.ly @@ -1,17 +1,24 @@ % 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 } + } } diff --git a/front-matter/front matter.ly b/front-matter/front matter.ly index 0935c0a..f6d7bc9 100644 --- a/front-matter/front matter.ly +++ b/front-matter/front matter.ly @@ -24,6 +24,13 @@ front-matter = \markuplist { \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 + } } } diff --git a/manuscripts/III-piano.ly b/manuscripts/III-piano.ly index 446e1f6..f8a9a9c 100644 --- a/manuscripts/III-piano.ly +++ b/manuscripts/III-piano.ly @@ -243,7 +243,7 @@ \voiceTwo \time 7/4 e,1-> 2.-> | d2.-> d1~-> | - d4 ees2.~-> 4 2~-> | + d4 ees2.~-> 4 2-> | des2.->~ 8 8->~ 2. | } >> diff --git a/manuscripts/IV-clarinet.ly b/manuscripts/IV-clarinet.ly index 780b542..2c98217 100644 --- a/manuscripts/IV-clarinet.ly +++ b/manuscripts/IV-clarinet.ly @@ -88,11 +88,11 @@ \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 @@ -127,7 +127,7 @@ 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 diff --git a/manuscripts/IV-piano.ly b/manuscripts/IV-piano.ly index b641c89..beabe74 100644 --- a/manuscripts/IV-piano.ly +++ b/manuscripts/IV-piano.ly @@ -44,9 +44,10 @@ \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 @@ -151,32 +152,32 @@ \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 @@ -303,7 +304,7 @@ \new Voice \relative { \voiceTwo 4 r4 | - fis2-> des8 \D \stemUp c b d \U | + fis2-> des8[ \D \stemUp c] b[ d] \U | } >> \oneVoice @@ -341,7 +342,7 @@ 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 @@ -351,25 +352,26 @@ 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.-- 16~->\mf 2 | %022 - r8[ fis16(\mp\< c16] g8~\mf 8~ 16) bes8(\> f16 | %023 + r8 fis16(\mp\< c16 g8~\mf 8~ 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_(~ 16~ 4~ | %026 16) cis'16( dis8~ 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) 4-> | %029 \time 2/8 8[->\f\> 8]-> | %030 \time 3/4 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 @@ -377,7 +379,7 @@ \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 diff --git a/variables/bio.ly b/variables/bio.ly index 7f7c4e3..92881dc 100644 --- a/variables/bio.ly +++ b/variables/bio.ly @@ -16,53 +16,5 @@ xbio = \markup { 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 - } + } } -- 2.39.5