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Upstream Music Association fonds File
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Echoes of time weeping : a dramatic solo for soprano and tape : [score]

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.

Moore, Sandy

Applications, correspondence, and notes regarding funding for the Upstream Music Association

File contains applications and documents for the Nova Scotia Arts Council Operating Grant Application (2000) and Canada Council for the Arts Classical Contemporary and New Music Organizations Program Multi-Year Funding (2000-2002). File also contains some minutes and financial statements from the Board of Directors for Upstream.

Nasca lines : piano and synthesizer

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.

Nasca lines : accordion, Irish harp, and synthesizer

File contains a complete score for the accordion, Irish harp, and synthesizer player, with the exception of parts 3A and 4 where s/he is tacit. 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. This part was likely performed by Sandy Moore, an accordion, Irish harp, and piano player with the Upstream Ensemble.

Nasca lines : alto saxophone in E-flat and soprano saxophone in B-flat

File contains a copy of the performance notes and a complete score for the alto and soprano sax player, with the exception of parts 2 and 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 alto and soprano saxophone parts were performed by Don Palmer, an Upstream musician, at the premiere performance.

Convoy HFX : [score]

File contains two copies of Paul Cram's composition in 12 sections, which combines common music notation and graphic notation. The composition's commission was funded by a SOCAN grant. The piece is for 10-20 performers on flute, oboe, clarinet, bassoon, saxophone, trumpet, percussion, guitar, accordion, tape, violin, viola, violoncello, and double bass.

Cram, Paul

Application to Nova Scotia Arts Council

File contains correspondence regarding Upstream Music Association's application to the Touring Program for Grants to Organizations and Small Groups, and the Production/Presentation Program for Grants to Organizations and Small Groups. File also includes a signed copy of the Terms and Conditions for Sustaining Grants to Organizations.

Programs and promotional materials for concert season

File contains copies of newspaper clippings, posters, and programs for the 2000-2001 concert season. The concerts included: Transfigured Nights by the Upstream Orchestra, conducted by Christoph Both (December 5 and 6, 2000 at the Sir James Dunn Theatre); Iron Sky with Jerry Granelli, Jeff Reilly, and John Little (February 27, 2001 at Saint George's Church); Up Close and Interactive with the Noir Angels (March 7, 28, and April 4, 2001 at the Spring Garden Road Public Library); and Spring Fever Festival (May 2001).

Nasca lines : flute

File contains the performance notes and flute parts for all but part 2 of the composition, as the flute is tacet during this section. 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, in the case of part 3, a copy of the score for the wind quintet. The musician then annotated their score appropriately.

Nasca lines : clarinet in B-flat

File contains the performance notes and clarinet parts. Because of the graphic notation in parts 1, 2, 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. parts 2 and 3). The musician then annotated their score appropriately.

Nasca lines : trumpet in C

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.

Nasca lines : percussion

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.

Nasca lines : violin 2

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.

Nasca lines : drums

File contains a copy of the performance notes and a complete score for the drummer, with the exception of part 2, page 1 of part 3, and part 4 where s/he is tacit. Part 1 is also not included in Upstream's Music Score Library as the drum player took this part, as indicated in a note on the front cover of the drum folder. 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).

Applications to Canada Council for the Arts

File contains correspondence regarding Upstream Music Association's application to the Classical Contemporary/ New Music Organizations Program; Residencies and Commissioning of Canadian Compositions Program; and New Music Program: Targeted Initiatives program.

Nasca lines : bassoon

File contains the performance notes and bassoon parts for all sections of the composition except Part 3A, where the bassoon 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 score for a group of instruments (e.g. parts 2 and 3). The musician then annotated their score appropriately. The bassoon part was played by Chris Palmer, a bassoonist with Symphony Nova Scotia.

Nasca lines : voice

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.

Nasca lines : viola

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.

Nasca lines : violincello

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.

Nasca lines : guitar

File contains a copy of the performance notes and a complete score for the guitarist, with the exception of part 4 where s/he is tacit. 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.

Nasca lines : tenor saxophone in B-flat

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.

Nasca lines : oboe

File contains the performance notes and oboe parts for all but part 2 of the composition, as the oboe is tacet during this section. 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, in the case of part 3, a copy of the score for the wind quintet. The musician then annotated their score appropriately. The oboe part was likely played by Suzanne Lemieux, an oboist with Symphony Nova Scotia.

Nasca lines : violin 1

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.

Nasca lines : double bass

File contains the performance notes and double bass parts for all sections of the composition except part 3A where the double bass 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.

Nasca lines : baritone saxophone in E-flat

File contains a copy of the performance notes and a complete score for the baritone 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 baritone saxophone part was performed by Dawn Hatfield, an Upstream musician, at the premiere performance.

Nasca lines : bass clarinet in B-flat

File contains a copy of the performance notes and a complete score for the bass clarinetist, 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 bass clarinet part was performed by Jeff Reilly, an Upstream musician, at the premiere performance.

Nasca lines : electric bass

File contains a copy of the performance notes and a complete score for the electric bassist, with the exception of parts 3, 3A, and 4 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.
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