File contains two annotated copies of Paul Cram's composition, "Les Mouton à L'Abbatoir," an atonal composition funded by SOCAN, which consists of a monophonic melody.
File contains labels for the "Upstream...excerpts" audio cassette. The cassette includes live recordings from Upstream's performance at St. Mary's University Art Gallery between May 13, 1990 and March 17, 1991, featuring Steve Tittle (trumpet and Flugel horn); Sandy Moore (Irish harp and synthesizers); Jeff Reilly (clarinet, bass clarinet, and alto saxophone); Don Palmer (saxophone and flute); Bob Bauer (guitar); Tom Roach (drums and percussion); Steven Naylor (keyboards); and Paul Cram (saxophone and clarinet). The pieces include: "Don't Hold Back" by Jeff Reilly; "Nocturne" by Steve Naylor; "Change is a Time for Celebration" by Sandy Moore; "Pluckstucke" by Paul Cram; "Sunrise for a Mad Afternoon" by Jeff Reilly; "Below the Surface" by Steve Naylor; "Valse Triste" by Bob Bauer; "Available Light" by Steve Tittle; "Standing in the Light" by Steve Tittle; "Entangold" by Bob Bauer; and "Immortal Coil" by Paul Cram. All compositions were funded by SOCAN.
File contains two annotated copies of Paul Cram's composition, "Kickers," in five parts. Each of the five parts is a short phrase. The composition was funded by SOCAN.
File contains the manuscript and four annotated copies of the tone row for "Kafka's Chair" by Paul Cram in prime, retrograde, inversion, retrograde inversion, and transposed forms. The manuscript also includes the "Entree" from Cram's "B-flat Restaurant" at concert pitch.
File includes Pamela Wetzel's contract for the position of General Manager and job descriptions for the positions of General Manager and Artistic Coordinator. File also includes a list of Upstream members by position (Board of Directors, Artistic Directors, General Manager, Bookkeeper, and Past members).
File contains Sandy Moore's proposal to the Board of Directors for the concert; correspondence sent to Akikazu Nakamura and Miwa Inaba; resumes for Nakamura and Inaba; budget for the concert; media release; and correspondence with the Canada Council for the Arts regarding the Japan-Canada Fund.
File includes photographs of the musicians and their instruments. The musicians were visiting artists, Akikazu Nakamura and Michiyo Yagi, and the Upstream Ensemble (Bob Bauer, Jeff Reilly, Paul Cram, Don Palmer, Steven Naylor, Sandy Moore, and Tom Roach).
Item is a coloured score for C instruments. The composition has three main sections and the third section is further subdivided into five sections, including a passacaglia. No performance instructions are included. The composition was funded by a SOCAN grant.
File contains the studio mastering tape for Paul Cram's composition "Immortal coil" and Don Palmer's composition "Fragments," completed at Solar Audio Recording studio in Halifax, Nova Scotia. The recordings are on Upstream's CD, "Open Water" (track 7, 8 min., 20 sec., and track 5, 5 min., 38 sec., respectively). Audio reel box includes a track sheet.
Item is a copy of Steven Naylor's composition for flute, violin, oboe, trumpet, viola, clarinet, accordion, cello, bassoon, electric bass, bass clarinet, contrabass, and percussion. Each instrument plays a short phrase repeatedly until the end of the piece with entries staggered between instruments.
Subseries contains correspondence, budgets, and supporting documents for grant applications. The Upstream Music Association applied to these grants to help cover the operational costs of the association, concert seasons, workshops, tours, visiting artists, and commissions from composers. Granting agencies include the Canada Council for the Arts; Nova Scotia Department of Tourism and Culture; Canadian Department of Communications; Nova Scotia Department of Economic Development; Nova Scotia Arts Council; and SOCAN (Society of Composers, Authors and Music Publishers of Canada).
File contains two annotated copies of the score for Jeff Reilly's "Ghost Tracks," one in concert pitch and one in B-flat. The concert pitch score was used by Susan (Sue) Sayles, a violist with the Upstream Ensemble. The score is in three large sections, each of which have various musical phrases notated in common music notation. The pitch material for the composition is derived from seven notes: F-sharp, G, G-sharp, B, C-sharp, D, and E (at concert pitch).
File contains annotated parts for Reilly's composition "Ghost Tracks," for concert, E-flat, and B-flat instruments. According to one of the annotations, the composition was performed as an octet at the Pier 21 Museum in Halifax, Nova Scotia.
File includes a copy of Upstream's application to the Canada Council for the Arts Music Touring, Presenting and Management Program to fund the 1999 Open Waters Festival.
File includes copies of Upstream's grant applications for the Canada Council for the Arts Music Touring, Presenting and Management Program, and the Nova Scotia Arts Council Grants to Organizations and Small Groups.
Item is Paul Cram's composition, "Forming 23," a graphic score for trumpet, trombone, guitar, piano, bass, drums, and vibraphone. The score includes indications for ornamentation, rhythm, style of improvisation, tempo, and register.
File contains the studio mastering tape for Steven Naylor's composition, "Forests," completed at Solar Audio Recording studio in Halifax, Nova Scotia. Audio reel box includes track sheets.
File contains four annotated copies of Jeff Reilly's composition, "Flight 753" in piano score format. The composition is a shortened version of "Flight 752."
File contains nine annotated copies of Jeff Reilly's composition, "Flight 752" in piano score format. The composition includes horns, cello, bassoon, drums, tenor saxophone, bass clarinet, and piano, and is notated in common music notation.
File includes a Promotions and Publicity Summary by Christopher Majka of Symphony Nova Scotia; correspondence and newspaper clippings related to the festival; revenue and expense statements; the final report to the Canada Council for the Arts; and correspondence with the Nova Scotia Arts Council confirming the completion and performance of Chris Palmer's commissioned work, "For Those Who Peril On the Sea."
Item is a copy of Steven Naylor's composition for guitars, accordion, wind instruments, and keyboard. The score is in graphic notation, using coloured symbols in blue, green, and red to indicate duration, pitch, attitude, and stops.
File contains a copy of the B-flat and C instrumental parts for an anonymous composition entitled "Fantasy Island," handwritten in common music notation with a 4/4 time signature.
File contains the score and text translation from Spanish to English. The Spanish translation was completed by Andreas Guibert, with consultation by Marcelo Arroyo. Evelyne Benais, Maral Perk, and Tony Tucker helped with the Flamenco rhythms, and Mary E. Moore did the cover artwork. The composition is based on the Mexican folkloric tale of La Llorana, The Weeping Woman.
File includes a draft brochure, created by Jeff Reilly, which includes an overview of the concerts and events that were included in the 1999 Open Waters Festival: Slipstream (November 13); Upstream Ensemble and Symphony Nova Scotia: Frank Zappa and Other Mothers of Invention (November 16); Barry Guy and Maya Homberger (November 18); and Barry Guy and the Open Waters Festival Ensemble (November 20).
Item is a copy of an anonymous score entitled "Cukeoo" for solo voice, piano, and an undefined instrumental ensemble. The score combines common music notation with graphic notation. The text is taken from an English folk song, "The Cuckoo Is A Pretty Bird"
Series reflects the various music-making activities of Upstream Ensemble and Upstream Orchestra, specifically those relating to performing, composing, and improvising. Records include those from the musicians’ concerts, tours, workshops, and the Open Waters Festival.