Item is a ticket to a metaphysics, esthetics, and belles-lettres class at Dalhousie College. The class was taught by WIlliam Lyall during the 1863-1864 session. James Baxter's names is written on the back of the ticket.
Item is a notebook used by James Baxter to take notes during lectures on logic delivered by Professor Ross. The lectures took place at the theological seminary in Truro, Nova Scotia between October 15, 1860 and April 10, 1861. The back of the notebook contains the signatures of people who attended the seminary and notes about them added by Baxter.
Item is a letter written by Willam Lyall to certify that James Baxter attended a senior Latin class during the 1860-1861 session. The letter was written in Truro.
Item is a letter written by Prof. James Ross to certify that James Baxter attended a chemistry class at the Presbyterian College. The letter was written in Truro, Nova Scotia on April 12, 1862.
Item is a letter written by Willam Lyall to certify that James Baxter attended senior Greek and Latin classes during the 1862-1863 session. The letter was written in Halifax on December 18, 1863.
Item is a letter sent to an unidentified person (possibly Arthur Stanley MacKenzie) by James Baxter. The letter was written in Chatham on November 2, 1917 on letterhead from the Dominion of Canada Quarantine Station of the Public Health Branch of the Department of Agriculture. The letter refers to photographs of early Dalhousie professors and students sent along with the letter and names the people in the photographs.
File contains a bound pamphlet with David L. Johnston's 1995 Killam Lecture, "Research at Canadian Universities and the Knowledge Based Society." The lecture was delivered to an invited audience of over 300 at Hart House, University of Toronto, on Friday, November 3, 1995.
File contains forms detailing MT&T employees' name, position, address, and damages sustained from the Halifax Explosion. Forms document personal injury and loss of life as well as damage to personal property.
File contains a copy of a question submitted to the House of Commons by Samuel Balcom, M.P., in May 1955, regarding family allowances to Nova Scotians. File also contains Parliamentary debates.
File contains the text of a question posted by Samuel Balcom (when he was a member of Parliament) regarding Nova Scotia coal used in Ontario Government Buildings, as well as Parliamentary minutes.
File contains the text of a question posted by Samuel Balcom (when he was a member of Parliament) regarding Payments to Nova Scotia by the Federal Government, as well as Parliamentary minutes.
File contains the text of a question posted by Samuel Balcom (when he was a member of Parliament) regarding Government Income and Expenses, as well as Parliamentary minutes.
File contains the text of a question posted by Samuel Balcom (when he was a member of Parliament) regarding the contributions to Vocational Training in the fiscal year 1953-54 by the Federal Government, as well as a reply to the question from the Honorable Milton F. Gregg.
File contains the text of a question posted by Samuel Balcom (when he was a member of Parliament) regarding the number of Immigrants entering Canada in 1954 and from what countries. Also in the file is a list of Immigrants and countries of origin for 1954, provided by the Department of Citizenship and Immigration.
File contains the text of a question posted by Samuel Balcom (when he was a member of Parliament) regarding Traffic Through the Port of Halifax, as well as Parliamentary minutes.
File contains the text of a question posted by Samuel Balcom (when he was a member of Parliament) regarding the total lobster catch for the four Atlantic Provinces, as well as the House of Commons Notice of Motion with the reply.
File contains the text of a question posted by Samuel Balcom (when he was a member of Parliament) regarding Hospital Grants to Nova Scotia, as well as Parliamentary minutes.
File contains the text of a question posted by Samuel Balcom (when he was a member of Parliament) regarding Mackerel and Herring Catches in1954, as well as Parliamentary minutes.
File contains correspondence from Balcom's time as Officer Commanding, Medical Stores, and Chief Medical Stores Inspection Officer during World War II. Original file split between files 2-19 and 2-20.
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 contains excerpts from texts by the Scottish painter Alan Davie (1920-2014) selected by Barry Guy for use in Parts 3A and 5 of the composition. The excerpts are taken from opuses D. 2 (June 1994); D.4 (June 1994); D. 15 (September 1994); D. 16 (June 1996); D. 24a (June 1996); D. 29 (May 1996); and D. 107 (1990). Davie's artwork is also one of the sources of inspiration for the graphic notation in Guy's composition.
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 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 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.
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 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.
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 complete conductor's score for part 1 of Nasca Lines, in graphic notation. The conductor uses the score in conjunction with flashcards, including VETO A, B, and C. Other flashcards used in the performance of this part of the composition are lost, but the images of each flashcard and their meanings are captured on the score for part 1. Each image serves as the basis for improvisation.
Item is a complete conductor's score for part 2 of Nasca Lines, featuring a string quartet and voice, with occasional contributions from the rest of the orchestra. Part 2 begins with approximated pitches and rhythms, where each instrument's part is written in relation to two outer staff lines and rhythmic values are relational (i.e. no clear metric structure). Some specific pitches are given starting on page 6 and five-line staves are used on pages 10 to 13 and 16. Sections of notated music are interspersed with improvised moments, and the string and wind instruments use extended techniques like circular bowing and multiphonics.
Item is a complete conductor's score for part 3 of Nasca Lines, in graphic notation. The conductor uses the score in conjunction with coloured flashcards associated with each instrument group (string quintet; wind quintet; saxophone quartet; and percussion, synth, and guitar trio). These flashcards are lost and not part of the Music Score Library. The graphic notation is taken from an aerial representation of an area of the Nazca Desert in Peru, featuring the condor geoglyph in the centre. Some of the pages are in colour.
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 4 of Nasca Lines, predominantly in standard notation with the exception of the last two pages, which are in graphic notation. Part 4 uses pitch-class set sequences and features the wind ensemble (flute, oboe, clarinet, trumpet, and bassoon) with significant inputs from piano and percussion. The time signatures change regularly and include some mixed meters.
Item is a complete conductor's score for part 6 of Nasca Lines, in standard notation, featuring the saxophones, electric guitar, bass, and drums, with accompanying material provided by the remaining instruments. This section integrates moments of improvisation into the composed portions, frequently layering improvisation with composition (i.e. one or more instruments improvise, whilst others play that which is written). This section features pitch-class set sequences and a loose meter with frequent changes of time signature.
Item is a complete conductor's score for part 7 of Nasca Lines, in standard notation and graphic notation. The conductor uses this score in conjunction with flashcards that indicate different improvisational styles; these flashcards are no longer part of Upstream's Music Score Library. This section of the composition revisits material from parts 2, 4, and 6.
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 Nasca Lines in graphic notation. The score includes representations of flashcards used by the conductor in this part, including VETO A, B, and C and flashcards indicating different improvisational styles.
Item contains a colour copy of the score used by the wind quintet for part 3 of Nasca Lines in graphic notation. The graphic notation is taken from an aerial representation of an area of the Nazca Desert in Peru, featuring the condor geoglyph in the centre and coloured yellow for the wind quintet.
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.
Item contains the flute part for part 4 of Nasca Lines in standard notation. Item also includes a copy of the last two pages of the full score for part 4, which have graphic notation. The flute part features extended techniques, including quarter tones and multiphonics, and has frequent meter changes.
Item is a coloured copy of the full score for part 5 of Nasca Lines in graphic notation. The score includes representations of the flashcards used by the conductor for this part of the score, including colour flashcards that indicate instrument groups (yellow for the wind quintet) and flashcards that indicate improvisational styles via graphic representations of geoglyphs from the Nazca Desert, Peru. The score also features phrases from Alan Davies' texts.
Item is a black and white copy of the full score for part 7 of Nasca Lines in mixed standard notation and graphic notation. This section of the composition revisits material from parts 2, 4, and 6, and includes representations of flashcards used by the conductor, including Veto A, B, and C and flashcards indicating various improvisational styles.
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.