Item is a publicity poster for Upstream featuring a photograph of the ensemble: Paul Cram, Sandy Moore, Bob Bauer, Steve Tittle, Tom Roach, Don Palmer, Steven Naylor and Jeff Reilly. The poster also features a prominent graphic of an ear and a logo for Paiste 2000, a cymbal line.
Item is a copy of Sandy Moore's "Aikata," written for any combination of instruments for an indefinite length of time. The composition is based on 11 cluster chords and 11 melodic tone rows, which can be performed in retrograde, inversion, or retroinversion. The 11 chords are taken from the given chords for the Sho, a Japanese mouth organ.
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 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"
Item is a copy of the performance instructions for an improvised composition with sixteen possible sets, each defined by four words, that are performed in any order.
Item is a poster advertising an Upstream concert at the Faculty des Beaux Arts, University of Moncton, sponsored by Canada Council for the Arts, Nova Scotia Arts Council, Saint Mary's University Art Gallery and Dalhousie University Department of Music.
Item is a copy of a handwritten piece called "Chipper," by Don Palmer. The piece is for solo alto recorder with harp, flute, clarinet, Flugal horn, and bass clarinet. The piece is in C Major and has a 3/4 time signature.
Item is a poster advertising a concert at Saint Mary's University Art Gallery sponsored by Canada Council Explorations Program and Nova Scotia Department of Tourism and Culture, featuring Paul Cram, saxophone; Sandy Moore, Irish harp and synthesizer; Bob Bauer, guitar; Steve Tittle, trumpet and flugel horn; Tom Roach, percussion; Don Palmer, saxophone and flute; Steven Naylor, keyboards; and Jeff Reilly, clarinet and bass clarinet.
Item is a poster for Upstream Music's seasonal finale concert, presented by Dalhousie University Music Department and CKDU 97.5 FM, on Wednesday, April 8, 1992 at the Sir James Dunn Theatre.
Item is two excerpted pages from Barry Guy's score for the "Bird Gong Game," the first page with performance instructions and the first of four sections of the score. The score uses both common music notation and graphic notation. It was written for the Scottish artist and musician, Alan Davie, and based on Davie's painting Bird Gong No. 12. The score is written at concert pitch.
Item is a copy of Paul Cram's composition, "B-flat Restaurant," dedicated to Don Palmer and composed for a SOCAN grant in 1993. The music is handwritten in common music notation and features long and frequent solo sections.
Item is a copy of Paul Cram's composition, "B-flat Restaurant Redux," which reuses elements from his "B-flat Restaurant" composition. The score, written for C instruments, is type-set.
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.
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.
Item is a poster for an Upstream concert at Sir James Dunn Theatre on Sunday, October 23, 1994, featuring the Upstream Ensemble, members of Symphony Nova Scotia, and special guests Jamie Gatti and Jim Faraday.
Item is a copy of Steve Tittle's "Mediterranean Eyes," originally commissioned in 1983 by the Atlantic Canada Trio (flute, piano, and double bass) and revised in 1996 for small orchestra (flute, oboe, clarinet, bassoon, horn, trumpet, trombone, percussion, piano, and strings).
Item is the first eight measures of the score for Fred Frith's composition "Traffic Continues: Shadow of a Tree on Sand" for flute, oboe, clarinet, bassoon, soprano saxophone, alto saxophone, trumpet, baritone saxophone, piano, percussion, violin, guitar, and double bass.
Item is an annotated copy of Jamieson's composition, which is in five sections. Each section has textual instructions for individual instruments with four musical parts notated at the bottom: melody, accompaniment, B-flat trumpet line, and bass line.
Item is the instructions for Norman Adams' improvisational composition, "6 of one," for performance by Adams (cello); Suzanne Lemieux (oboe); Jeff Reilly (bass clarinet and clarinet); and Paul Cram (tenor saxophone and clarinet). The composition has an approximate tonality of D and textual instructions regarding rhythm, entrances, intervallic relationships of parts, dynamics, range, and timbre.
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.
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.
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.
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 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 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 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 complete conductor's score for part 3A of Nasca Lines, a vocal cadenza, in graphic notation. A rectangle in the centre of the score features the same image as part 3, an aerial representation of an area of the Nazca Desert in Peru with the condor geoglyph in the middle. Radiating outward from the central rectangle are seven sections, each featuring a graphical representation of one of the Nazca Lines geoglyphs and phrases from Alan Davie's texts and/or a tone row. The geoglyphs included are the hands, pelican, spider, monkey, condor, and two unidentified glyphs.
Item is a complete conductor's score for part 5 of Nasca Lines, in graphic notation. The conductor uses the score in conjunction with colour flashcards indicating instrument groups (blue for the string quintet; yellow for the wind quintet; red for the sax quartet; green for percussion, sythesizer, and electronic instruments; and purple for voice) and flashcards with graphic representations of geoglyphs from the Nazca Desert, Peru. The colour flashcards and flashcard for the monkey (indicating an improvisation style that features "fragmented/ active" articulations) are missing from Upstream's Music Score Library, but are reproduced on this score. Boxes for each instrument group have been coloured in with the appropriately-coloured marker. The score also features phrases from Alan Davies' texts.
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 is a black and white copy of the full score for part 3A of Nasca Lines in graphic notation. A rectangle in the centre of the score features the same image as part 3, an aerial representation of an area of the Nazca Desert in Peru with the condor geoglyph in the middle. Radiating outward from the central rectangle are seven sections, each featuring a graphical representation of one of the Nazca Lines geoglyphs and phrases from Alan Davie's texts and/or a tone row. The geoglyphs included are the hands, pelican, spider, monkey, condor, and two unidentified glyphs. Item also includes a copy of the five tone rows used in this part of the composition, extracted from the full score.