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.
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."
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 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 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 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 the tenor saxophone part for part 4 of Nasca Lines in standard notation. Item includes a copy of the last page of the full score of part 4, which has graphic notation.
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.
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."
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 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 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 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 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 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 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 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 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 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 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 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 ticket for a mathematics class at the theological seminary of the Presbyterian Church of Nova Scotia, during the 1860-1861 session. The ticket certifies that James Baxter attended the class and is signed by Thomas McCulloch.
Item is a ticket for the natural philosophy class at the theological seminary of the Presbyterian Church of Nova Scotia, in the 1892-1893 session. The ticket certifies that James Baxkter attended the class from October to April and is signed by Thomas McCulloch. The back of the ticket has a note from McCulloch stating that Baxter also took mathematics classes.
Item is a letter written by Thomas McCulloch to certify that James Baxter attended Latin classes at the seminary in Truro during the past three sessions. The letter was written at Dalhousie College, Halifax, on March 3, 1864.
Item is a typed letter from Heitor Villa-Lobos to Ellen Ballon written on December 17, 1946. The letter acknowledges a letter Ballon wrote on December 5, 1946 and asks if Ballon performed the world premier of Villa-Lobos's first piano concerto with the Dallas Symphony Orchestra. Item is accompanied by the stamped air mail envelope in which Ballon received the letter. Two Brazilian postage stamps are affixed to the envelope.
Item is a typed letter from Arminda Villa-Lobos to Ellen Ballon written on May 28, 1947. Arminda writes about her poor English and asks Ballon to write in Portuguese. She also asks if an October 1947 concert in Montreal will be broadcast. This concert was the Canadian premiere of Villa-Lobos' first piano concerto. Item is accompanied by the stamped air mail envelope in which Ballon received the letter. Two Brazilian postage stamps are affixed to the envelope.
Item is a typed letter from Heitor Villa-Lobos to Ellen Ballon written on June 2, 1947. Villa-Lobos acknowledges a May 15, 1946 letter from Ballon and provides some information on his compositions, including Caixinha de Boas Festas, the 2nd Suite do Descobrimento do Brasil, and Danses Africaines. The letter refers to Marks Co. as "the true thieves of my musics." Item is accompanied by the stamped air mail envelope in which Ballon received the letter. Two Brazilian postage stamps are affixed to the envelope.
Item is a typed letter from Heitor Villa-Lobos to Ellen Ballon written on September 9, 1947. The letter details some potential performances of Villa-Lobos' compositions and his desire to have Ballon perform his music. Item is accompanied by the stamped air mail envelope in which Ballon received the letter. Two Brazilian postage stamps are affixed to the envelope.
Item is a handwritten letter from Heitor and Arminda Villa-Lobos to Ellen Ballon written on July 26, 1947. The letter details Villa-Lobos itinerary on a European tour and comments on Ballon's performances of Villa-Lobos' compositions. Item is accompanied by the stamped air mail envelope in which Ballon received the letter. One French postage stamp is affixed to the envelope.
Item is a postcard with a black and white photograph of Pietro Mascagni (1863-1945), an Italian opera composer. The postcard has various signatures on the front, including Francesco Marconi (1855-1916, operatic tenor from Rome) and four other illegible signatures. The postcard is addressed to Frau Dr. Lehnsern(?) of Berlin.
![Nasca lines : part 5 : [full score]](/uploads/r/dalhousie-university-archives/1/4/5/145db1fb87467acf2f9ac2080d17624e7283ce075cb20ff2c9b174cb711132a8/MS-5-16_OS20_6_access_142.jpg)
![Nasca lines : part 7 : [full score]](/uploads/r/dalhousie-university-archives/a/a/a/aaa1b632fdeb6010fbdd888af14d0cd327698ef2168ced4d4b8bb49bee3fb6ca/MS-5-16_OS20_8_access_142.jpg)
![Nasca lines : part 1 : [full score]](/uploads/r/dalhousie-university-archives/4/c/e/4cecc0d4599004a58d8ee769c49ea8ad3bb56bbdacb7f413f61a58cc6ded5316/MS-5-16_OS21_2_access_142.jpg)
![Nasca lines : part 2 : [accompanying instruments]](/uploads/r/dalhousie-university-archives/2/c/2/2c2ea544b01721db678de5645884f1c3498cce0e73be36cf40f4d5a6a6cadf43/MS-5-16_OS21_3_access_142.jpg)
![Nasca lines : part 3 : [saxophone quartet]](/uploads/r/dalhousie-university-archives/2/3/8/23876e18b3645d619fbfa0778d434287c6bace74da306fc79ae4630e676e5055/MS-5-16_OS21_4_access_142.jpg)
![Nasca lines : part 5 : [full score]](/uploads/r/dalhousie-university-archives/5/0/4/50496e3e7e9528d095bbe037b3e81ee07d5c986000d3bdacf969afbc1eda7e07/MS-5-16_OS21_6_access_142.jpg)
![Nasca lines : part 7 : [full score]](/uploads/r/dalhousie-university-archives/5/0/3/50333509138c69218cf595a1fdb46b9f1bb09aac97d457703c4d92ec8151d57b/MS-5-16_OS21_8_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)
![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 5 : [full score]](/uploads/r/dalhousie-university-archives/b/e/9/be9627a3c2c429540dbb768a5505ab0529a725f1ce0d7e67d6f00e9a33b4f1d9/MS-5-16_OS22_6_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 1 : [full score]](/uploads/r/dalhousie-university-archives/4/9/b/49b8cdaffe7a6e298a0b6b414e8b108d77c37b2c0baaa1357ef5d6b5b2d61ece/MS-5-16_OS23_2_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 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)
