File includes a brochure on Upstream sponsorship, notes on the Upstream Ensemble 1999-2000 concert season, and Steven Naylor's letter of resignation from the Board of Directors.
File contains the studio mastering tape for "Nocturne" by Steven Naylor and "Pulseight" by Tom Roach, completed at Solar Audio Recording studio in Halifax, Nova Scotia. The recordings are on Upstream's CD, "Open Water" (track 2, 7 min. and track 3, 2 min., 50 sec., respectively). Audio reel box includes track sheets for both pieces.
Item is a copy of Naylor's composition for flute, saxophone, clarinet, bass clarinet, vibraphone, electric guitar, piano, and percussion. The composition is dedicated to Earle Hagen
Item is the first seven measures of the score for Fred Frith's composition "Neither Fire nor Place" for flute, English horn, clarinet, bass clarinet, bassoon, alto saxophone, baritone saxophone, trumpet, piano, percussion, guitar, violin, viola, cello, and double bass.
File contains the performance notes and voice part for all sections of the composition except parts 3 and 4, where the voice is tacet. Because of the graphic notation in parts 1, 2, 5, and 7, there are no individual instrumental scores for these parts of the composition; instead, the musician was given a copy of the full score. The musician then annotated their score appropriately. The voice part was likely sung by Janice Jackson, a soprano with the Upstream Ensemble, who is referenced in the piano and synthesizer part.
File contains the performance notes and viola parts for all sections of the composition except part 3A where the cello is tacet. Because of the graphic notation in parts 1, 2, 3, 5, and 7, there are no individual instrumental scores for these parts of the composition; instead, the musician was given a copy of the full score or a score for a group of instruments (e.g. part 3). The musician then annotated their score appropriately.
File contains the performance notes and second violin parts for all sections of the composition except part 3A where the second violin is tacet. Because of the graphic notation in parts 1, 2, 3, 5, and 7, there are no individual instrumental scores for these parts of the composition; instead, the musician was given a copy of the full score or a score for a group of instruments (e.g. part 3). The musician then annotated their score appropriately.
File contains the performance notes and first violin parts for all sections of the composition except part 3A where the first violin is tacet. Because of the graphic notation in parts 1, 2, 3, 5, and 7, there are no individual instrumental scores for these parts of the composition; instead, the musician was given a copy of the full score or a score for a group of instruments (e.g. part 3). The musician then annotated their score appropriately. For the premiere performance, the string section was led by first violinist, Mark Fewer, a member of Symphony Nova Scotia.
File contains the performance notes and viola parts for all sections of the composition except part 3A where the viola is tacet. Because of the graphic notation in parts 1, 2, 3, 5, and 7, there are no individual instrumental scores for these parts of the composition; instead, the musician was given a copy of the full score or a score for a group of instruments (e.g. part 3). The musician then annotated their score appropriately. The viola part was likely played by Steven Dann, a Toronto violist who collaborated with the Upstream Ensemble.
Item is a flashcard with the text "VETO C" on both sides. It is used in conjunction with flashcards "VETO A" and "VETO B" in parts 1 and 7 of the composition to interrupt the normal flow of the music. When the conductor implements VETO C, the orchestra switches to "wild/ alternative sounds," which are represented on the score for parts 1 and 7 by scribble marks in a rectangle.
Item is a flashcard with the text "VETO B" on both sides. It is used in conjunction with flashcards "VETO A" and "VETO C" in parts 1 and 7 of the composition to interrupt the normal flow of the music. When the conductor implements VETO B, the orchestra switches to "dissipating gestures," which are represented on the score for parts 1 and 7 by graphic notation showing nine arrows pointing away from a central black dot.
Item is a flashcard with the text "VETO A" on both sides. It is used in conjunction with flashcards "VETO B" and "VETO C" in parts 1 and 7 of the composition to interrupt the normal flow of the music. When the conductor implements VETO A, the orchestra switches to "single focus gestures," which are represented on the score for parts 1 and 7 by a subito fortissimo (sff) sign and graphic notation showing seven arrows pointing at a black dot.
Item is used in part 5 of the composition and indicates that a selected instrument group (string quintet, percussion, voice, sax quartet, or wind quintet) should move through all of the musical possibilities available. The possibilities are indicated by five graphic representations of geoglyphs in the Nazca Desert, Peru, including the monkey, spider, pelican, hands, and condor. Each image translates to a type of articulation: the monkey is fragmented and active; the spider is dense and active; the pelican is slow and sustained; the hands indicate extremes of range; and the condor indicates that the musicians should mimic the improvisations of their colleagues. The flashcard is-double sided.
File contains the performance notes and trumpet parts for all sections of the composition except Part 2, where the trumpet is tacet. Because of the graphic notation in parts 1, 3, 3A, 5, and 7, there are no individual instrumental scores for these parts of the composition; instead, the musician was given a copy of the full score or score for a group of instruments (e.g. part 3). The musician then annotated their score appropriately. The trumpet part was likely played by Richard Simoneau, a trumpet player with the Upstream Orchestra, as there are references to a trumpeter named Richard in annotations of other orchestral parts.
Item is a graphic representation of the spider geoglyph from the Nazca Desert, Peru. The conductor implements this flashcard in part 5 of the composition to indicate that an instrument group (string quintet, percussion, voice, sax quartet, or wind quintet) should improvise using "dense/ active" articulations. The flashcard is double-sided.
Item is a graphic representation of the pelican geoglyph from the Nazca Desert, Peru. The conductor implements this flashcard in part 5 of the composition to indicate that an instrument group (string quintet, percussion, voice, sax quartet, or wind quintet) should improvise using "slow/ sustained" articulations. The flashcard is double-sided.
Item is a graphic representation of the hands geoglyph from the Nazca Desert, Peru. The conductor implements this flashcard in part 5 of the composition to indicate that an instrument group (string quintet, percussion, voice, sax quartet, or wind quintet) should improvise using "extremes of range."
Item is a graphic representation of the condor geoglyph from the Nazca Desert, Peru. The conductor implements this flashcard in part 5 of the composition to indicate that an instrument group (string quintet, percussion, voice, sax quartet, or wind quintet) should attempt to mimic or follow the improvisations of their fellow musicians. The flashcard is double-sided.
File contains a copy of the performance notes and a complete score for the tenor sax player, with the exception of part 3A where s/he is tacit. Because of the graphic notation in parts 1, 3, 5, and 7, there are no individual instrumental scores for these parts of the composition; instead, the musician was given a copy of the full score or a score for a group of instruments (e.g. part 3). The musician then annotated their score appropriately. The tenor saxophone part was performed by Paul Cram, an Upstream musician, at the premiere performance.
File contains the performance notes and piano and synthesizer parts for all sections of the composition except parts 3A and 6, where the piano and synthesizer are tacet. Because of the graphic notation in parts 1, 2, 5, and 7, there are no individual instrumental scores for these parts of the composition; instead, the musician was given a copy of the full score or score for a group of instruments (e.g. part 2). The musician then annotated their score appropriately. The piano and synthesizer part was likely played by Steven Naylor, a pianist and synthesizer player with the Upstream Ensemble.
Item includes two copies of the performance notes. The first copy does not include instructions for Part 3, page 3 and the second copy rectifies this error. The performance notes include instructions for each of the seven sections of the piece; a description of the composition; and diagrams of the orchestra and percussion performance layouts.
Item contains a copy of the performance notes for Nasca Lines, including an inserted page of additional notes. The performance notes include instructions for each of the seven sections of the piece; a description of the composition; and diagrams of the orchestra and percussion performance layouts.
Item contains a copy of the performance notes for Nasca Lines, including an inserted page of additional notes. The performance notes include instructions for each of the seven sections of the piece; a description of the composition; and diagrams of the orchestra and percussion performance layouts.
Item contains a copy of the performance notes for Nasca Lines, including an inserted page of additional notes. The performance notes include instructions for each of the seven sections of the piece; a description of the composition; and diagrams of the orchestra and percussion performance layouts.
Item contains a copy of the performance notes for Nasca Lines, including an inserted page of additional notes. The performance notes include instructions for each of the seven sections of the piece; a description of the composition; and diagrams of the orchestra and percussion performance layouts.
Item contains a copy of the performance notes for Nasca Lines, including an inserted page of additional notes. The performance notes include instructions for each of the seven sections of the piece; a description of the composition; and diagrams of the orchestra and percussion performance layouts.
Item contains a copy of the performance notes for Nasca Lines, including an inserted page of additional notes. The performance notes include instructions for each of the seven sections of the piece; a description of the composition; and diagrams of the orchestra and percussion performance layouts.
Item contains a copy of the performance notes for Nasca Lines, including an inserted page of additional notes. The performance notes include instructions for each of the seven sections of the piece; a description of the composition; and diagrams of the orchestra and percussion performance layouts.
Item contains a copy of the performance notes for Nasca Lines, including an inserted page of additional notes. The performance notes include instructions for each of the seven sections of the piece; a description of the composition; and diagrams of the orchestra and percussion performance layouts.
Item contains a copy of the performance notes for Nasca Lines, including an inserted page of additional notes. The performance notes include instructions for each of the seven sections of the piece.
Item contains a copy of the performance notes for Nasca Lines, including an inserted page of additional notes. The performance notes include instructions for each of the seven sections of the piece; a description of the composition; and diagrams of the orchestra and percussion performance layouts.
Item contains a copy of the performance notes for Nasca Lines, including an inserted page of additional notes. The performance notes include instructions for each of the seven sections of the piece; a description of the composition; and diagrams of the orchestra and percussion performance layouts.
Item contains a copy of the performance notes for Nasca Lines. The performance notes include instructions for each of the seven sections of the piece; a description of the composition; and diagrams of the orchestra and percussion performance layouts.
Item contains a copy of the performance notes for Nasca Lines, including an inserted page of additional notes. The performance notes include instructions for each of the seven sections of the piece; a description of the composition; and diagrams of the orchestra and percussion performance layouts.
Item contains a copy of the performance notes for Nasca Lines, including an inserted page of additional notes. The performance notes include instructions for each of the seven sections of the piece; a description of the composition; and diagrams of the orchestra and percussion performance layouts.
Item contains a copy of the performance notes for Nasca Lines, including an inserted page of additional notes. The performance notes include instructions for each of the seven sections of the piece; a description of the composition; and diagrams of the orchestra and percussion performance layouts.
Item contains a copy of the performance notes for Nasca Lines, including an inserted page of additional notes. The performance notes include instructions for each of the seven sections of the piece; a description of the composition; and diagrams of the orchestra and percussion performance layouts.
Item contains a copy of the performance notes for Nasca Lines, including an inserted page of additional notes. The performance notes include instructions for each of the seven sections of the piece; a description of the composition; and diagrams of the orchestra and percussion performance layouts.
Item contains a copy of the performance notes for Nasca Lines. The performance notes include instructions for each of the seven sections of the piece; a description of the composition; and diagrams of the orchestra and percussion performance layouts.
Item contains a copy of the performance notes for Nasca Lines, including an inserted page of additional notes. The performance notes include instructions for each of the seven sections of the piece; a description of the composition; and diagrams of the orchestra and percussion performance layouts.
File contains the performance notes and percussion parts for sections 3, 4, and 7 of the composition. The percussion is tacet in Parts 2 and 6, and there is a note on the folder from Jim F[araday], a percussionist with Upstream, indicating that he took parts 1 and 5 from the folder at some point. Because of the graphic notation in parts 3 and 7, there are no individual instrumental scores for these parts of the composition; instead, the musician was given a copy of the full score or score for a group of instruments (e.g. part 3). The musician then annotated their score appropriately.
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