File contains the final report submitted by Sandy Moore, Bob Bauer, and Jeff Reilly to Anne-Marie Hogue of the Japan-Canada Fund. This grant supported Upstream Ensemble's collaboration with two Japanese artists, Akikazu Nakamura and Miwa Inaba, which included a concert on November 27, 1992 and a video project.
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.
File also contains letters of resignation from the Board of Directors from Bob Bauer and Jeff Reilly and member lists for the Board of Directors from 1991 and 1992.
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).
File contains the studio mastering tape for Steven Naylor's composition, "Forests," completed at Solar Audio Recording studio in Halifax, Nova Scotia. Audio reel box includes track sheets.
File contains the studio mastering tape for the second 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 "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.
File contains the studio mastering tape for "Nocturne" by Steven Naylor and "Pulseight" by Tom Roach, completed at Solar Audio Recording studio in Halifax, Nova Scotia. The recordings are on Upstream's CD, "Open Water" (track 2, 7 min. and track 3, 2 min., 50 sec., respectively). Audio reel box includes track sheets for both pieces.
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 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 a report to the Board of Directors and Artistic Directors of Upstream Music Association on the process and budget of the Upstream CD, "Open Waters," before final mastering and manufacturing.
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 the drum 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. "more fragmented."
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 the graphic notation score used by the rhythm section for part 3 of Nasca Lines. The score was used by the drummer for the premiere performance. As the drums are tacet for the first page, this page is not included.
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. This score was used by the electric bassist in the premiere performance.
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 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 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 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 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 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 (red for the saxophone quartet) 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. This score was used by Jeff Reilly for the premiere performance.
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 contains a colour copy of the score used by the saxophone quartet (including the bass clarinet) for part 3 of Nasca Lines in graphic notation. The score lists the players by name, rather than instrument: Don Palmer [alto or soprano saxophone], Paul Cram [tenor saxophone], Dawn Hatfield [baritone saxophone], and Jeff Reilly [bass clarinet]. 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 red for the saxophone quartet.
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 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 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 the tenor saxophone part for part 6 of Nasca Lines in standard notation. The majority of this part is improvised with basic directives from the composer, e.g. "more fragmented" or "pitch free."
![Nasca lines : part 7 : [full score]](/uploads/r/dalhousie-university-archives/8/e/6/8e67e7883751f56c9d8ff22690c063e8ea842239d5645099f6b93f1756427dd9/MS-5-16_OS24_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/3/d/e/3de6194ff4a69f110ceec59028654a2b098a40680867cef87fc498660cdb3358/MS-5-16_OS23_7_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 2 : [accompanying instruments]](/uploads/r/dalhousie-university-archives/6/a/6/6a6fd2819487ce82dff571c8f8f52ec927ab1250d1c0b87624711eca195ce2ff/MS-5-16_OS23_3_access_142.jpg)
![Nasca lines : part 1 : [full score]](/uploads/r/dalhousie-university-archives/4/9/b/49b8cdaffe7a6e298a0b6b414e8b108d77c37b2c0baaa1357ef5d6b5b2d61ece/MS-5-16_OS23_2_access_142.jpg)
![Nasca lines : part 7 : [full score]](/uploads/r/dalhousie-university-archives/e/1/0/e1014857116e6e11a6247253016a83aa69f16dd62d693d44d7efcdab163a8030/MS-5-16_OS22_8_access_142.jpg)
![Nasca lines : part 5 : [full score]](/uploads/r/dalhousie-university-archives/b/e/9/be9627a3c2c429540dbb768a5505ab0529a725f1ce0d7e67d6f00e9a33b4f1d9/MS-5-16_OS22_6_access_142.jpg)
![Nasca lines : part 3 : [saxophone quartet]](/uploads/r/dalhousie-university-archives/a/9/6/a96b489ca32bba87045dd0644afbeb23d74a096212ed56f5668ab06ed22d6801/MS-5-16_OS22_4_access_142.jpg)
![Nasca lines : part 2 : [accompanying instruments]](/uploads/r/dalhousie-university-archives/6/3/3/6332e0106331167b584b4fa2b4b2d534db1355bb2eac825b4b6408e40ae637e0/MS-5-16_OS22_3_access_142.jpg)
![Nasca lines : part 1 : [full score]](/uploads/r/dalhousie-university-archives/2/9/7/2977e91601793254f75c5ed158a924d5572afd8a83e4d22880b957f2d7ea8d59/MS-5-16_OS22_2_access_142.jpg)
