Showing 561 results

Archival Description
Upstream Music Association fonds
Print preview View:
Ascending

209 results with digital objects Show results with digital objects

Japan-Canada concert and rehearsals

File includes photographs of the musicians and their instruments. The musicians were visiting artists, Akikazu Nakamura and Michiyo Yagi, and the Upstream Ensemble (Bob Bauer, Jeff Reilly, Paul Cram, Don Palmer, Steven Naylor, Sandy Moore, and Tom Roach).

Japan-Canada Concert with Akikazu Nakamura and Miwa Inaba

File contains Sandy Moore's proposal to the Board of Directors for the concert; correspondence sent to Akikazu Nakamura and Miwa Inaba; resumes for Nakamura and Inaba; budget for the concert; media release; and correspondence with the Canada Council for the Arts regarding the Japan-Canada Fund.

Kafka's chair : row material

File contains the manuscript and four annotated copies of the tone row for "Kafka's Chair" by Paul Cram in prime, retrograde, inversion, retrograde inversion, and transposed forms. The manuscript also includes the "Entree" from Cram's "B-flat Restaurant" at concert pitch.

Cram, Paul

Kickers : [score]

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.

Cram, Paul

Labels for Upstream excerpts audio cassette

File contains labels for the "Upstream...excerpts" audio cassette. The cassette includes live recordings from Upstream's performance at St. Mary's University Art Gallery between May 13, 1990 and March 17, 1991, featuring Steve Tittle (trumpet and Flugel horn); Sandy Moore (Irish harp and synthesizers); Jeff Reilly (clarinet, bass clarinet, and alto saxophone); Don Palmer (saxophone and flute); Bob Bauer (guitar); Tom Roach (drums and percussion); Steven Naylor (keyboards); and Paul Cram (saxophone and clarinet). The pieces include: "Don't Hold Back" by Jeff Reilly; "Nocturne" by Steve Naylor; "Change is a Time for Celebration" by Sandy Moore; "Pluckstucke" by Paul Cram; "Sunrise for a Mad Afternoon" by Jeff Reilly; "Below the Surface" by Steve Naylor; "Valse Triste" by Bob Bauer; "Available Light" by Steve Tittle; "Standing in the Light" by Steve Tittle; "Entangold" by Bob Bauer; and "Immortal Coil" by Paul Cram. All compositions were funded by SOCAN.

Minutes of Undercurrent meetings

File also includes budgets, reports to the Board of Directors for Upstream, and a copy of the Certificate of Registration from the Province of Nova Scotia (under the Partnerships and Business Names Registration Act) for Undercurrent Recordings (dated August 6, 1992).

Minutes of Undercurrent records meeting

File contains minutes from a meeting July 13, 1993 between Laura Hoffman, Paul Cram, Michael LaLeune, Steven Naylor, Jeff Reilly, and Bob Bauer. File also contains correspondence on the Mark Duggan Project; a draft of Undercurrent Recordings' policies; and a report to the Board of Directors of the Upstream Music Association by Steven Naylor.

Muraille de Cayne : tenor saxophone

File contains two copies of the tenor saxophone part of a composition entitled "Muraille de Cayne." "Robert Leriche" is handwritten at the bottom of one of the parts, potentially indicating him as the composer.

Music score library

Subseries contains all scores found within the Upstream Music Association fonds, including compositions by Upstream musicians, commissioned works, and scores used in recording sessions, workshops, and performances.

Nasca lines

Subseries contains the conductor’s score, instrumental, and vocal parts used for the premiere performance of Nasca Lines by Barry Guy. Nasca Lines is a one-hour, seven-part work that was commissioned by the Upstream Ensemble and premiered in collaboration with the Symphony Nova Scotia on June 3, 2001 at the Scotia Festival with conductor and composer, Barry Guy.

The composition is named after and inspired by the geoglyphs in the Nazca Desert, Peru, which include outlines of animals and various geometric shapes. Graphical representations of a selection of these geoglyphs are used in the graphic notation of this score, particularly in parts 3 and 7.

Nasca Lines is an atonal work that uses a combination of composed material, based on tone rows and pitch class sets, and guided improvisation. There are twenty instrumental parts and one vocal part.

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 : Alan Davie texts

Nasca lines : Alan Davie texts

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.

Guy, Barry

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.

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 : 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 : 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 : 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 : 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).
Results 151 to 200 of 561