Item is the tenor saxophone part for part 4 of Nasca Lines in standard notation. Item includes a copy of the last two pages of the full score of part 4 in graphic notation.
Item is a copy of the score used by the accompanying instruments (clarinet, bassoon, tenor sax, baritone sax, bass clarinet, electric bass, electric guitar, double bass, and synthesizer) for part 2 of Nasca Lines, in graphic notation. This score was used by the electric bass player in the premiere performance.
Item is a coloured copy of the full score for part 5 of Nasca Lines in graphic notation, used by the electric bassist in the premiere performance. The score includes representations of the flashcards used by the conductor for this part of the score, including colour flashcards that indicate instrument groups (green for the rhythm section) 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 the electric bass part for part 6 of Nasca Lines used in the premiere performance. This part is entirely improvised with some basic directives from the composer, e.g. "pitch free" and "more fragmented."
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. This score was used by the electric bassist in the premiere performance.
Item is a coloured copy of the full score for part 5 of Nasca Lines in graphic notation, used by the drummer in the premiere performance. The score includes representations of the flashcards used by the conductor for this part of the score, including colour flashcards that indicate instrument groups (green for the rhythm section) 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. The score was used by the drummer in the premiere performance.
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 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 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 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 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 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 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 poster advertising a concert featuring Upstream Ensemble held at Denton Hall, Acadia University on December 1, 2001 and again at Saint Mary's University Art Gallery on December 2, 2001.
Item is a poster advertising Upstream Music Association's series of winter concerts, which include: "New Music for a New Year," with Symphony Nova Scotia under the direction of Bernhard Gueller; "Halifax Calling!", with the Temporal Follies, featuring Janice Jackson, suddenlyListen Trio & Upstream 6.0; and "Away all Boats!!", with Geordie Haley, Motion Ensemble (NB) and Forum Improvisation Ensemble.
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 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 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 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 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 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 is a copy of the score used by the accompanying instruments (clarinet, bassoon, tenor sax, baritone sax, bass clarinet, electric bass, electric guitar, double bass, and synthesizer ) for part 2 of Nasca Lines, in graphic notation.
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 clarinet part for part 4 of Nasca Lines in standard notation. The clarinet part features extended techniques, including quarter tones and multiphonics, and has frequent meter changes. Item also includes a copy of the last two pages of the full score for part 4, which have graphic notation.
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 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 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.
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. The score was used by [Jim Faraday] for the premiere of the composition.
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 (green for the rhythm section) 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 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 string 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 blue for the string quintet.
![Nasca lines : part 2 : [accompanying instruments]](/uploads/r/dalhousie-university-archives/6/a/6/6a6fd2819487ce82dff571c8f8f52ec927ab1250d1c0b87624711eca195ce2ff/MS-5-16_OS23_3_access_142.jpg)
![Nasca lines : part 5 : [full score]](/uploads/r/dalhousie-university-archives/0/3/d/03de8253cb3071065de4a9fc711658f8e6e1849244030566012232ad3c4b96b8/MS-5-16_OS23_5_access_142.jpg)
![Nasca lines : part 7 : [full score]](/uploads/r/dalhousie-university-archives/3/d/e/3de6194ff4a69f110ceec59028654a2b098a40680867cef87fc498660cdb3358/MS-5-16_OS23_7_access_142.jpg)
![Nasca lines : part 5 : [full score]](/uploads/r/dalhousie-university-archives/f/3/c/f3c12702aae7d56304d68157f56f70149e8086ee13efbbda39babbff4f7fc770/MS-5-16_OS24_5_access_142.jpg)
![Nasca lines : part 7 : [full score]](/uploads/r/dalhousie-university-archives/8/e/6/8e67e7883751f56c9d8ff22690c063e8ea842239d5645099f6b93f1756427dd9/MS-5-16_OS24_7_access_142.jpg)
![Saint Mary's University Arts Gallery presents : Upstream : [poster]](/uploads/r/dalhousie-university-archives/1/c/3/1c3ad5629a1b058d8ac277431fbc991347ec3ba944d086f6c16e167c00acf7d0/a64ee64e-f522-4b0d-9860-3b5afb0a7e78-MS-5-16_OS25_019_142.jpg)
![Upstream : October Summit : [poster]](/uploads/r/dalhousie-university-archives/8/b/8/8b86db34d7cc7ad8aa21507dd8af091fc4a3d3fc2e7c4dad7ca04eb86c9d39dd/ba58de6d-d96a-4393-b8e0-e6c4f5e61fe7-MS-5-16_OS25_001_142.jpg)
![Upstream Music Association presents : Tightening the traces : [poster]](/uploads/r/dalhousie-university-archives/e/2/f/e2ffcd0e7f8d7736fbaddba56e7811cd7c546100f4feb09481d2a0cb5daa12ca/9f7f4d18-155f-489b-883e-ecd41c530114-MS-5-16_OS25_004_142.jpg)
![Winter summit : 21st century music concerts : [poster]](/uploads/r/dalhousie-university-archives/c/c/1/cc1592c8ea7f151c637363e065250db27955cdf552e07e8d7597bd9adc5e328e/4c0637d0-81c2-4e9b-88ca-22e6ac324cd6-MS-5-16_OS25_012_142.jpg)
![Fred Frith & friends : where rock and new music meet : [poster]](/uploads/r/dalhousie-university-archives/9/c/8/9c86e40603570715a268fcfc482506768a7efbbc3be00375ea658b5c927138a5/6794af4b-6eba-4973-8fa3-d32727bafb02-MS-5-16_OS25_014_142.jpg)
![Upstream : [poster]](/uploads/r/dalhousie-university-archives/8/6/6/8663f3a25f68a3f52b1d6d15014d50ce3f9c7ddb24f42698ba9dfbc40338e8b2/06ffeb18-26fb-4a73-89f7-87245dc8178b-MS-5-16_OS25_021_142.jpg)
![Nasca lines : part 4 : [full score]](/uploads/r/dalhousie-university-archives/7/e/9/7e9a2e030b2bf286df50e1759cdb848a520d2df18d21ee1b81baba816d01e369/MS-5-16_OS3_15_access_142.jpg)
![Nasca lines : part 7 : [full score]](/uploads/r/dalhousie-university-archives/9/4/6/94630d5f5009bf74a6659e88933c82ef13bd1de068df9c94d2ac2f15fd2070c2/MS-5-16_OS3_18_access_142.jpg)
![Nasca lines : part 1 : [full score]](/uploads/r/dalhousie-university-archives/6/1/2/612087d6372e101b9b53881f92377735d1879115d40958cd15b4a628dae00406/MS-5-16_OS4_2_access_142.jpg)
![Nasca lines : part 2 : [accompanying instruments]](/uploads/r/dalhousie-university-archives/a/1/2/a12b836e6d74258d9a47d51a9d292c5649dc74da6da5bd9a73a1a65d230cad7c/MS-5-16_OS6_3_access_142.jpg)
![Nasca lines : part 3A : [full score]](/uploads/r/dalhousie-university-archives/3/2/e/32e7595a9fd51148a602a6db79a30020c272b9cbdfa41502db2a78ce1d313f58/MS-5-16_OS6_5_access_142.jpg)
![Nasca lines : part 7 : [full score]](/uploads/r/dalhousie-university-archives/5/f/0/5f049d18eacba1e7dfce5360002a86986f7a562ac9fd6d6c2a8238db32c85bc5/MS-5-16_OS6_9_access_142.jpg)
![Nasca lines : part 1 : [full score]](/uploads/r/dalhousie-university-archives/f/2/3/f231976b3fb8c813a3ecdaf4bee583f17aceced871a472ed6fe5f9c64060fac4/MS-5-16_OS7_2_access_142.jpg)
![Nasca lines : part 7 : [full score]](/uploads/r/dalhousie-university-archives/4/f/3/4f3213498992702b3b0aacaf6e60816ff9f19399f584989f0e18977b1a4efbac/MS-5-16_OS7_9_access_142.jpg)
![Nasca lines : part 7 : [full score]](/uploads/r/dalhousie-university-archives/f/7/8/f7831741e61a3925098d3178c8f323d5ee7ede7aa146d5d7be15cb2eeb1160a7/MS-5-16_OS9_6_access_142.jpg)
![Nasca lines : part 5 : [full score]](/uploads/r/dalhousie-university-archives/3/8/c/38c0f3bd7b4e14a9d917902635e2b9ab6819fbd6fdaf065180a701e1f0d43555/MS-5-16_OS10_7_access_142.jpg)
![Nasca lines : part 1 : [full score]](/uploads/r/dalhousie-university-archives/5/c/2/5c241be6cae2ce81cfa2097357f8cf1743957d02a6a23975c77f3a196029b85c/MS-5-16_OS11_2_access_142.jpg)
