File contains correspondence concerning the aftermath of the Open Waters Festival. Topics include the reconciliation of ticket counts and cash box intakes; budget; production report; and thank yous.
File contains records from an Upstream performance that included compositions by Bob Bauer, Jeff Reilly, Steven Naylor, Steve Tittle, and Sandy Moore. The date of the concert is not identified.
File contains photographs of the Upstream Ensemble (Paul Cram, Steven Naylor, Tom Roach, Steve Tittle, Bob Bauer, Sandy Moore, Jeff Reilly, and Don Palmer) and their instruments.
File includes a media release; program; digital tape cue sheet; notes on musician's contracts and publicity; notes on the concert budget; ticket stubs; draft poster; and a signed Atlantic Federation of Musicians Local No. 571 contract for the musicians (Jeff Reilly, Steve Tittle, Sandy Moore, Don Palmer, Steven Naylor, Tom Roach, Paul Cram, and Bob Bauer).
File includes draft programs, press releases, receipts, correspondence, a comment card, and a signed Atlantic Federation of Musicians Local No. 571 contract for the musicians (Jeff Reilly, Steve Tittle, Sandy Moore, Don Palmer, Steven Naylor, Tom Roach, Paul Cram, Bob Bauer, and Chris Mitchell).
File includes records of subscriptions and concert takings and attendance for the 1992-1993 concert season. File also includes "The New Arts Sampler" brochure, which includes advertisements for three Upstream Music concerts.
File includes a concert program, correspondence, press release, and poster. This concert featured original compositions by Steve Tittle and was his "bon voyage to Nova Scotia."
File contains records from a concert entitled "Saturnalia: A Festival of Light" at Saint Mary's University Art Gallery, which featured two silent films: "Teller That You Love Her," film by Glenn Walton, music by Paul Cram; and "Lulu's Back in Town," by Lulu Keating, music by Sandy Moore. The music to both films was provided by the Upstream Ensemble (Bob Bauer, Paul Cram, Sandy Moore, Steven Naylor, Don Palmer, Jeff Reilly, and Jamie Gatti).
File includes the budget, invoice, program, and promotional postcard for Upstream Ensemble's concert with The Echo Case, an initiative of EDAM (Experimental Dance and Music).
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).
File includes a copy of Upstream's pamphlet for the 2008-2009 season and a program for one of the concerts, "Winter Summit: A Love Upstream with Lori Freedman."
File includes correspondence with Sound Symposium, St. John's, Newfoundland; Antigonish Performing Arts Series; and the School of Music at Memorial University of Newfoundland.
File includes records relating to Upstream's fall tour in 1992, which included performances in Nova Scotia (Yarmouth, Halifax, Wolfville); Moncton, New Brunswick; Montreal, Quebec; and Ontario (Toronto, Ottawa, Peterborough, and Kitchener).
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.
File contains two annotated copies of Paul Cram's composition, "Kickers," in five parts. Each of the five parts is a short phrase. The composition was funded by SOCAN.
File contains two annotated copies of Paul Cram's composition, "Les Mouton à L'Abbatoir," an atonal composition funded by SOCAN, which consists of a monophonic melody.
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
File contains annotated parts for Reilly's composition "Ghost Tracks," for concert, E-flat, and B-flat instruments. According to one of the annotations, the composition was performed as an octet at the Pier 21 Museum in Halifax, Nova Scotia.
File contains two annotated copies of the score for Jeff Reilly's "Ghost Tracks," one in concert pitch and one in B-flat. The concert pitch score was used by Susan (Sue) Sayles, a violist with the Upstream Ensemble. The score is in three large sections, each of which have various musical phrases notated in common music notation. The pitch material for the composition is derived from seven notes: F-sharp, G, G-sharp, B, C-sharp, D, and E (at concert pitch).
File contains a copy of the B-flat and C instrumental parts for an anonymous composition entitled "Fantasy Island," handwritten in common music notation with a 4/4 time signature.
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"
File contains a copy of the grant application and supporting documents sent to Canada Council by the Upstream Music Association for funding to record a CD. The proposed works for the CD were: "Nocturne" by Steven Naylor; "Don't Hold Back" by Jeff Reilly; "Chipper" by Don Palmer; "Immortal Coil" by Paul Cram; "Change is a Time for Celebration" by Sandy Moore; "Valse Triste" by Robert Bauer; and "Available Light" by Steve Tittle. At the point of application, the Undercurrent Recording label did not exist, but Steven Naylor, Jeff Reilly, and Paul Cram were discussing its creation.
File contains the studio mastering tape for the first take of Steve Reilly's composition, "Sunrise to a Mad Afternoon," completed at Solar Audio Recording studio in Halifax, Nova Scotia. The recording is on Upstream's CD, "Open Water" (track 6, 10 min., 1 sec.). Audio reel box includes a track sheet.
File contains the studio mastering tape for Paul Cram's composition "Immortal coil" and Don Palmer's composition "Fragments," completed at Solar Audio Recording studio in Halifax, Nova Scotia. The recordings are on Upstream's CD, "Open Water" (track 7, 8 min., 20 sec., and track 5, 5 min., 38 sec., respectively). Audio reel box includes a track sheet.
File contains the studio mastering tape for "Winds of Lyra" by Sandy Moore, completed at Solar Audio Recording studio in Halifax, Nova Scotia. The recordings are on Upstream's CD, "Open Water" (track 4, 9 min., 6 sec.). Audio reel box includes track sheet.