Fonds comprises Ronald St. John Macdonald's records regarding his personal, academic, and professional activities as a jurist, judge, and professor. Records include those related to Macdonald's involvement with Osgoode Hall, University of Western Ontario, University of Toronto, Dalhousie University, the European Court of Human Rights, the Hague, Peking University, World Academy of Arts and Science, Canadian Council of International Law, United Nations, Institute of International Law, African Society of International Law, British Institute of International Law, Canadian Institute of International Law, International Law Association, and others. Records types include correspondence; meeting minutes and agendas; research materials; photographs; newsletters; newspaper clippings; manuscripts; and off-prints.
Subseries consists of Ronald St. John Macdonald's items of interest collected throughout his life, including biographical materials, art pieces, newspaper clippings, periodicals, books, and other materials.
Item is a piano arrangement of one of the folk songs from "Huits Chants Populaires pour Orchestre" by Anatoly Lyadov (also spelled Liadov), which was originally written in 1905. The score is dated August 15, 1916 at San Sebastien and accompanied by a note from Scribner's publishing house that the score is an original manuscript of the composer's arrangement for pianoforte solo. However, Liadov died August 28, 1914. The publisher's note also indicates that it was previously part of the collection of Serge Diaghileff (Diaghilev).
File contains two sets of parts for Paul Cram's "Royal Hotel." The first has "Words — Michael Ondaatje" printed at the top and includes parts for voice 1; tenor; trumpet; guitar; violin; baritone; bass; and drums. The second set is marked with the SOCAN copyright date 2005 and includes parts for Eb soprano; alto; bass; tenor; trumpet; guitar; violin; bass clarinet; drums; electric bass; and stereo grand. There is a single part for audio 1 that appears to be from a different printing.
Subseries contains 34 scores catalogued by the Canadian Music Centre ca. 2016. The scores in this subseries are listed in the order of the RSN (record series number) established by the CMC and descriptions contain corresponding call numbers. They were re-foldered along with the CNC envelopes in which they were maintained.
File contains original handwritten scores for Paul Cram's "Hammer and Tongs," written for two altos, bass and drums, and "Down to Earth," written for soprano, tenor and bass.
File contains original handwritten scores for "Tango Oreo"; "One Step at a Time"';"Faster at the Alter"; "(Do the) Funky Fool"; "String Quartet #3"; "Coup d'Etat"; and "Rank and Vile."
Item is an original handwritten composition with eight movements, which include both traditional musical notation and directional text. For example, the first movement simply reads: "Coda I = material from Western Front."
File contains Paul Cram's original handwritten scores for "Moonlight in Rio" (2 copies); "Inside Passage"; "The Lost City" ; Shanghai Express"; "Scotch Drinkers from Hell"; "Have a Heart or Invitation to an Aztec Sacrifice"; and "Concord Ave."
Item is the score for a composition by Bauer. Bauer divided the instruments into three groups: (1) guitar, oboe, piano, violin; (2) violin, viola, cello, xylophone; and (3) bass clarinet, electric bass, and acoustic bass. The composition alternates between 3/8,4/8, 5/8, 6/8, 7/8, 8/8, 9/8, 10/8, and 12/8 at a tempo of 100 eighth-notes per minute. The score is printed on the back of Bauer's resume.
File contains nine annotated copies of "Silent Movies," a composition by Paul Cram in two parts written at concert pitch. The reverse side of one of the copies includes a set list for "Talk Show," which was part of the 1997 Open Waters Festival.
File contains five annotated copies of Naylor's score for 11 instrumental parts. Each part includes melodic guidance for improvisation and performers are instructed to switch between parts freely.
Item is Paul Cram's facsimile score for saxophone quartet and tape, performed June 1984. The first page comprises program notes describing the composition as a variation on the Icarus myth; the second page is a schemata for between movements.
