Series consists of musical scores, handwritten notes and sketches, and a manuscript of the printed first version of Il divertimento barocco (“Baroque Fun” in Italian) 1999 with hand-written edits and other unique manuscript material related to the work’s revision in 2019/2020. The piece was commissioned by the Orchestre baroque de Montréal with funding from Canada Council for the Arts and completed by Sokolovic in 1999, when it was performed at the Salle Pierre-Mercure in Montréal on November 4th. It was originally written for violin, harpsichord, and string ensemble, but has also been performed by baroque flute, violin, viola da gamba, and harpsichord at the Galerie Montcalm in Gatineau, QC in 2012.

File consists of five large format artist proofs of photographs that were printed during Carruther’s residency at the Banff Centre for the Arts. They measure 29” x 44” (74cm x 112cm) and are comprised of giclée on Epson enhanced matter paper.

Prints depict photographs taken by Carruthers during her research trip to Athabasca Glacier in Alberta on May 23rd, 2017 and subsequently used as inspiration for her composition, slippages.

Series consists of scores, edits, correspondence, and a publication related to two compositions by Barbara Monk Feldman: The Northern Shore for Percussion, Piano and Chamber Orchestra; and, The Pale Blue Northern Sky. The Northern Shore for Percussion, Piano, and Chamber Orchestra is a 2018 revision of Monk Feldman’s 1997 work, The Northern Shore. Whereas the earlier version was written for violin, piano, and percussion, the revision is scored for chamber orchestra. Monk Feldman wrote the piece as an abstracted impression of the colors, textures, and atmospheres evoked by a specific place and time in nature, in particular the Gaspé Peninsula in Quebec where the St. Lawrence River widens into the ocean. Here, the opposite shore appears across the water to Monk Feldman as a sort of mirage that is either enhanced or diminished by the intensity of light on the water during the day. It is this memory of light that Monk Feldman found inspiring, utilizing the way that differing registrations of the violin are sustained in relation to the percussion and piano as an intimation of light and horizon. The Pale Blue Northern Sky was similarly inspired by the same Gaspé location and thus acts a ‘sister piece’ to The Northern Shore. It was written in 2007 for two guitars and a mandolin.

Collection consists of primary resources and related materials created and used by Canadian women composers. Each series is dedicated to one of the participating composers, which currently consists of Deborah Carruthers, Dorothy Chang, Zosha Di Castri, Lori Freedman, Barbara Monk Feldman, Ana Sokolović, Chiyoko Szlavnics, and Elizabeth Raum. Materials include a variety of records, such as original scores, manuscripts, working drafts, photographs, prints, published articles, correspondence, and materials used as inspiration in the artists' work. Going forward, the collection is expected to evolve and incorporate additional Canadian women composers.

File consists of a related composition entitled Patina, a musical program, and an essay by Di Castri as well as an agreement, invoice, and various correspondences between her and Kevin Madill, the Head Librarian at UBC’s Music, Art, and Architecture Library, in reference to her contributions to the Canadian Women Composers Collection.

File consists of documentation of arrangements included in Monk Feldman’s contributions to the Canadian Women Composers Collection as well as a signed agreement and multiple emails between her and Kevin Madill, the Head Librarian at UBC’s Music, Art, and Architecture Library.

File contains notes and handwritten and edited sketches related to Carol in Three-Three Time. File consists of 10 pages.

Series consists of original drawings, scores, handwritten notes and revisions, book/booklets and other materials relating to Szlavnics’ Gradients of Detail. Gradients of Detail was composed by Szlavnics in 2005 especially for Montreal-based string quartet Quatuor Bozzini. Szlavnics compositional process is closely affiliated with her line drawings which became the graphical representation of the score. This visual score was essential to represent the slow sustains and glissandi found throughout this work. The scores are meant to be read from left to right as time (in seconds) and from up to down as the high to low frequency range of pitch, though she cautions against reading this visual representation as exact pitches. These visual artworks must also serve to be art in and of themselves, as that would guarantee that the musical score translated out of it will be strong, according to Szlavnics. She says the forms in Gradients of Detail line drawings are related to the seed pods of the milkweed plant which she drew in Canada in the fall of 2004 just after her father passed away.

File consists of one commercial audio CD,

File consists of one commercial audio CD, Bridges. CD consists of ten tracks by Freedman playing clarinets, distributed by Quebec : DAME in 2009.

File consists of one commercial audio CD, Excess. CD consists of six tracks, of which track three is performed by Freedman and the remaining tracks performed by other artists/ensembles. This CD was manufactured by Canada : Collection QB in 2019.

File consists of one commercial audio CD, Huskless! Lori Freedman Live in Concert. CD consists of eight tracks of Freedman playing clarinets, distributed by Ontario : Artifact Music in 1999.

File consists of materials that served as inspiration to Di Castri during the writing of Sprung Testament, including Beethoven letters and “The Topography of Tears,” a photographic investigation of tears by Rose-Lynn Fisher.

File consists of the full orchestration of Gateways with handwritten edits that build on the previously submitted chamber version as well as the final orchestrated score. The edits include information about when changes were made according to what color ink they are written in.

File consists of one audio CD of a private live performance recording of Concerto Now and Then by Freedman in Montreal in 2020.

File consists of a single page program from "Now and Then V: autour de l'improvisation" from the February 20, 2020 performance by Freedman in Montreal.

File consists of two pages (front and back) of a sketch of the cover page for Concerto Now and Then by Freedman and a letter she received from the Centre de Musique canadienne au Quebec.

File consists of a single page of textual information about Freedman's Concerto Now and Then private audio CD recording of the 18 Feb., 2020 live performance; including information about the composer, performers, performance date, and performance venue.

File consists of 24 pages (front and back) of unlined paper taken from Freedman's blue Japanese workbook featuring handwritten notes and sketches for Concerto Now and Then.

File consists of 44 pages (front and back) of lined paper taken from Feedman's orange workbook of handwritten notes and some sketches in black and red ink for Concerto Now and Then.

File consists of six pages (front and back) of semi-lined and unlined paper taken from Freedman's Green workbook of sketches and handwritten notes for Concerto Now and Then.

File consists of ten pages of unlined paper taken from Feedman's black workbook featuring green, pink, and black line sketches and some handwritten notes for Concerto Now and Then.

Series consists of original graphic scores, conductor's score, working templates, notes, art prints, and photographs related to the work ‘slippages’ by Montréal based composer and interdisciplinary artist Deborah Carruthers. In 2017, Carruthers served as the inaugural Artist in Residence at the Peter Wall Institute for Advanced Studies, University of British Columbia (UBC). Deborah teamed up with science researchers at the institution as well as the UBC School of Music to find a way to creatively combine sound, science, and visual art for the purpose of increasing public awareness of the climate crisis. Carruthers conducted field work for the project in the Columbia Icefield along the border of British Columbia and Alberta. Inspired by the threatened glacial landscape, Carruthers returned to her Montréal studio and completed a series of paintings, 27 of which were selected and arranged to produce a graphic score. Graphic scores use visual symbols to represent music rather than traditional music notation. Because of their emphasis on the visual, graphic scores are frequently considered works of art in and of themselves. Moving from sight to sound is accomplished through the creation of a geography of the orchestra on a sheet of transparent plastic which is then used to map over Carruthers’ art works and determine which instruments take responsibility for which parts of the images. ‘Slippages’ premiered Friday, October 5th, 2018, at the Chan Centre for the Performing Arts with the UBC Symphony Orchestra under the baton of the symphony’s Director, Dr. Jonathan Girard. Project documentation includes a notebook holding hand-written texts revealing assimilation of glacial theory, inspirational preliminary sketches, and unique inserts; an audio/video recording of the premier; and a copy of a video component to be shown above the orchestra as it performs the work.

Photographs depict: Di Castri's unique piano preparation for Sprung Testament; Di Castri handing her scores over to Kevin Madill, the Head Librarian of UBC's Music, Art, and Architecture Library, for the purpose of this collection; and a screenshot of Jennifer Koh's show description.

Series consists of final scores, edited scores, notes, and a musical program related to Dorothy Chang’s composition Gateways: Double Concerto for Erhu and Piano. Gateways was commissioned by Nicole Ge Li and Corey Hamm of the Piano-Erhu Project (PEP). Players of the erhu and piano, respectively, they began PEP as a means of exploring the tonal, musical, and cultural blends between two iconic Eastern and Western instruments. For her addition to PEP’s mission, Chang reflected on how she might address the issue of ‘east meets west,’ especially given the solo instruments’ highly distinct and disparate sonic characteristics, performance practices, and musical traditions. Gradually, the piece evolved as a patchwork of musical fragments, moments, and memories gathered from her own multicultural experiences as a first-generation Chinese American, a Western expatriate living in Taiwan, and now an immigrant to Canada. Woven into the three movements are references to a 90’s Chinese pop song, a children’s rhyme, opulent Romanticism, American minimalism, and other influences both subtle and not. The title refers to a Tang Dynasty poem that depicts a gateway as both an opportunity and a barrier, reflecting a deep yearning for a faraway time, place, or memory. The work premiered April 14, 2018 at the VSO Annex Theatre; Ge Li and Hamm served as soloists; William Rowson conducted members of the Vancouver Symphony Orchestra.

File consists of photocopies of notebook sketches created by Di Castri during initial brainstorming for her collaboration with Jennifer Koh.

File consists of the first rehearsal draft of Di Castri's collaboration with Jennifer Koh, along with handwritten edits.

File consists of notebook sketches created by Di Castri during initial brainstorming for her collaboration with Jennifer Koh. Pages are numbered.

Series consists of compositions by composer Elizabeth Raum. Contents include: handwritten notes, sketches, handwritten and typewritten scores with handwritten notations and edits, and descriptions of the compositions by Raum. Pieces included in the series are: The Man Watching; Olmutz Concerto; Legend of Heimdall; River Rhapsodie; Victims of Eagles; First and Gracious Sight; and Carol in Three-Three Time.

File contains notes, sketches, two full scores dated from 17 January 2024 and one full score dated from 24 January 2024, all with handwritten edits, for First and Gracious Sight. File consists of 48 pages.

File consists of the final score of Gateways: Double Concerto for Erhu, Piano, and Chamber Orchestra, totaling 95 pages.

File consists of 51 pages of handwritten sketches of Gateways as well as a photocopy of each page and an explanation of contents written by Chang.

File includes initial ideas, concepts, sketches, and a working draft for Movement 1 of Gateways, entitled "a letter to home," along with handwritten edits and notes.

File consists of initial ideas, planning notes, and a draft of Movement 2 of Gateways, entitled "slow fires," along with handwritten edits and notes.

File includes planning notes, sketches, and drafts of Movement 3 of Gateways, entitled "games," along with a photocopy of each page and Chang's explanation and timeline of changes.

File consists of three pages of handwritten planning notes for Gateways, a photocopy of each page, and a photocopy of Chang's timeline and explanation of movement changes.

File consists of the event program detailing a performance of Chang's Gateways for Chamber Orchestra on Saturday, April 14th, 2018. Relevant pages are 57-59.

File consists of two pages of the 2009 revision of Gradients of Detail including handwritten notes.

File consists of two copies of the three page (six pages total) Appendix for Gradients of Detail. This file constains the Ratio Analysis for Rehearsals.

File consists of four pages of an interview of Szlavnics given by Gisela Gronemeyer in Berlin. File is written in German with very little English.

File consists of one page of Szlavnics' artist statement on how they composed Gradients of Detail for Quatuor Bozzni.

File consists of one bound booklet with a total of 22 pages (front and back) of the 2008 "Zeit Im Bild - Notation, Film, Objekt. Bludenzer Tage zeitgem

File consists of one page (front and back) for the composer's application for the Canada Council Commissioning Program of the composition of Gradients of Detail for Quatuor Bozzini. The reverse side of the application is written in Croatian with time-stamps and handwritten edits.

File consists of 11 spiral bound pages (five of which being front-and-back) of the final score of composer's Gradients of Detail 2021 edition.

File consists of 11 unbound pages (five of which being front-and-back) of the final score of composer's Gradients of Detail 2021 edition.

File consists of one bound book with a total of 360 pages (front and back) of the 2006 "festival f

File consists of 12 pages of notes for revision and rehearsal of Gradients of Detail for Quatuor Bozzini, a stringed instrument quartet group based in Motreal, QC. Composer has included a post-it note saying that this must have been printed in Toronto.

File consists of one page of Gradients of Detail original drawing of Composition Part 3 interleaved with two protective sheets of paper.

File consists of two numbered pages of Gradients of Detail original drawings of Composition Parts 1 and 2 interleaved with two protective sheets from a bound sketchbook. File also includes one prinout of the two original drawings as facing pages.