File contains the instrumental parts for Paul Cram's compilation of arrangements entitled "Transfigured Night." The piece includes four arrangements: "Wie Lange Noch?" by Kurt Weill for soprano, accordion, and contrabass; String Quartet Op. 28, 2nd movement by Anton Webern for string quartet; "All the Things you Are" by Jerome Kern and Oscar Hammerstein II for trumpet, alto saxophone, bass clarinet, and baritone saxophone; and a fugue by Johann Sebastian Bach for flute, oboe, clarinet, and bassoon. The piece also includes two newly-composed sections for guitar, bass, and drums, and piano and cello duet.
Item is an annotated copy of Jamieson's composition, which is in five sections. Each section has textual instructions for individual instruments with four musical parts notated at the bottom: melody, accompaniment, B-flat trumpet line, and bass line.
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 five annotated copies of Naylor's score for 11 instrumental parts. Each part includes melodic guidance for improvisation and performers are instructed to switch between parts freely.
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 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.
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.
Item is a copy of the performance instructions for an improvised composition with sixteen possible sets, each defined by four words, that are performed in any order.
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.
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.
File contains an audio cassette of live recordings from Upstream's performances at St. Mary's University Art Gallery between May 13, 1990 and March 17, 1991. The cassette features 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.
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 correspondence regarding the agreement and a draft of the agreement between the Association and the artists on the Open Waters CD (Bob Bauer, Paul Cram, Sandy Moore, Steve Naylor, Don Palmer, Jeff Reilly, Tom Roach, and Steve Tittle).
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.
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 records relating to a proposed CD, produced by Undercurrent Recordings, containing the following nine compositions by Steve Tittle: "Mediterranean Eyes," "Intellectual Dancing (Two)," "I remember Mambo," "Good Golly Miss Kali," "The Dragon Doesn't Live Here Anymore," "Where no one speaks English and Everything's Broken," "Available Light," and "Sing like you don't nee the Money." The proposed title of the CD was the same as the last piece. The CD was never made.
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.
Item is the instructions for Norman Adams' improvisational composition, "6 of one," for performance by Adams (cello); Suzanne Lemieux (oboe); Jeff Reilly (bass clarinet and clarinet); and Paul Cram (tenor saxophone and clarinet). The composition has an approximate tonality of D and textual instructions regarding rhythm, entrances, intervallic relationships of parts, dynamics, range, and timbre.
File contains parts for Bauer's improvisational composition in five sections: Sitar Drone Atmosphere; Falling - Filling the Cup; The Streets of Calcutta; Ascension - Reaching Beyond Life; and Resolution. The composition is for violin, bassoon, piano, guitar, and oboe and lacks a clear tonal centre and meter.The last section is a canon between the violin and bassoon.
Item is a copy of Steven Naylor's composition for guitars, accordion, wind instruments, and keyboard. The score is in graphic notation, using coloured symbols in blue, green, and red to indicate duration, pitch, attitude, and stops.
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.
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).
Item is a coloured score for C instruments. The composition has three main sections and the third section is further subdivided into five sections, including a passacaglia. No performance instructions are included. The composition was funded by a SOCAN grant.
