File consists of eight spiral bound pages (front and back, including covers) of the original score of Gradients of Detail with handwritten notes by Szlavnics.

File consists of one audio CD and one 19 page (front and back) booklet of Gradients of Detail performed by Asasello Quartet in 2005-2006. The score is the third track on this album and runs for 21:22 minutes. The booklet contains several line drawings by Szlavnics from 2005-2013 and writing by Szlavnics about this visual element to Gradients of Detail.

File consists of five pages of untitled musical scores, potentially pitch charts for Gradients of Detail.

File consists of one page of the 2005/2006 score revision of Gradients of Detail for a string quartet. Composer included a handwirtten note saying: "see also: 'Ratio Analysis for Rehearsals'" (RBSC-ARC-1817-03-07 of this series)

File consists of 16 spiral bound pages (front-and-back) of the conductor's score of Il divertimento barocco performed October 5, 2018 at the Chan Centre for the Performing Arts. The score was signed by conductor Jonathan Girard in 2020.

File consists of two pages of handwritten edited musical score of composer's Il divertimento barocco.

File consists of four pages (front-and-back) of graph paper with handwritten preliminary notes and one page of musical score with sketched musical notes of composer's Il divertimento barocco.

File consists of a manuscript of the printed 1st version of Il divertimento barocco including the composer's handwritten edits as well as a photocopy of the invoice agreement between Sokolovic and UBC regarding her donation to the Canadian Women Composers Collection.

File consists of five medium photographs included in Di Castri's donation.

File contains sketches related to Legend of Heimdall. File consists of 29 pages.

Series consists of musical scores, notes, sketches, concert programs, DVDs, and audio CDs pertaining to three distinct pieces composed by Lori Freedman: Reimsix, To The Bridge, and Concerto Now and Then. Each piece is unique and pertains to a specific era during Freedman’s long musical career. Reimsix was composed by Freedman in 2011 for the flute, clarinet, violin, cello, percussion and piano. To The Bridge was composed in 2014 for bass clarinet (clarinet in B-flat) and voice. This piece is composed of five miniatures connected by four bridges, hence the naming of the song. The bridge is where the miniatures arrive or depart from a place. Freedman explains her perspective as, “playing music is equally about composition as it is about interpretation and the spontaneous combination of the two — improvisation.” With this piece, Freedman wants to focus on the interconnection between the composer, the performer and the audience. Concerto Now and Then was composed in 2020 for any five musicians. It has previously been performed with a violin, clarinet, cello, alto saxophone, and double bass.

File contains original pencil sketches of the Olmutz Concerto. File consists of 14 pages.

File consists of one page of textual information about the Feb. 24, 2014 private performance of Reimsix by Ensemble Transmission to accompany the CD recording (which can be found RBSC-ARC-1817-SPCD-02).

File consist of one audio CD of Reimsix performed by Ensemble Transmission Regina.

File consists of six published programs regarding performances of Freedman's Reimsix. The first program is "P&M Paroles & Musqiue", a 32 page (front and back) French magazine published in 2011 which features an except on Freedman's July 15, 2011 premier of Reismix on page 29. The second program is the eight page (front and back) "les nouvelles fl

File consists of seven pages of handwritten musical score of Reimsix intended to be given to a copyist to transfer to a computer software program.

File consists of 46 pages (front and back) of unlined paper bound in a black workbook. The workbooks includes handwritten notes on Reimsix written by Freedman including some musical scores printed out and taped to the blank pages within the workbook.

File consists of six pages (front and back) of small lined paper taken from Freedman's "little red workbook" of notes for Reimsix.

File consists of 14 pages (front and back) of lined paper taken from Freedman's orange workbook of notes for Reimsix.

File consists of seven pages of musical score for the clarinet and bass clarinet portions of Reimsix. The musical scores include handwritten notes and edits by Freedman.

File consist of 18 pages (front and back) of the uncorrected, pre-final score of Reimsix with handwritten notes by Freedman for the flute, clarinet/bass clarinet, violin, cello, piano, and percussion.

File consists of 18 pages (front and back) of the pre-final musical score for the quintent of flute, clarinet/bass clarinet, violin, cello, piano, and percussion for Reimsix with handwritten notes by Freedman.

File consists of 38 pages of musical score and handwritten notes by Freedman for Reimsix. File also includes one page of email correspondence between Jeffrey Stonehouse, the artistic director of the quintet, and Freedman regarding the rehearsal schedule and the musical equipment list.

File consists of 180 pages (front and back) of musical score, sketches, and notes on Reimsix. File includes one bound pink workbook of 20 pages (front and back) of lined paper with handwritten notes.

File consists of a copy of Monk Feldman’s article, “Music and the picture plane: Poussin’s Pyramus and Thisbe and Morton Feldman’s For Philip Guston,”originally printed in the Autumn 1997 edition of RES 32, the Peabody Museum of Harvard University’s Journal of Anthropology and Aesthetics.

File contains notes and original sketches in pencil, an original score as copied into Finale from sketches, and a revised score with two pages of new material at the end, all for River Rhapsodie. File consists of 26 pages.

File consists of the score co-created by Maestro Jonathan Girard and Deborah Carruthers to be used in the performance of slippages by the UBC Symphony Orchestra as well as the transparent overlay they used to map out responsibilities within the orchestra.

For their performance of slippages, Carruthers and Girard approached the task of interpreting graphic scores by mapping the seating arrangement onto the images themselves, creating a sort of geography of the orchestra. By creating a transparent overlay of the orchestral seating chart, they could go page by page and figure out which instruments would take responsibility for which parts of the images. Once areas of the image were assigned to orchestral sections, the musicians looked at the depth and saturation of the colours and translated them into musical intensity, texture, and so on. Next, Carruthers and Girard mapped out the relationship between the layered pages of the score, interpreting how glaciers reveal themselves and their histories as they melt due to climate change. In this composer's score, those parts are assigned based on the seating chart.

File consists of the artist’s written statement about herself and her work as well as instructions for playing slippages.

File consists of the notebook kept and used by Deborah Carruthers during the creation of slippages. According to the artist, she keeps notebooks – which she calls “Idea Books" – with her at all times.

File consists of 27 pages, made up of a front cover, 25 score pages, and back cover. The graphic score is on 18” x 24” bespoke St-Armand cotton paper, in acrylic ink with sea salt. Carruthers commissioned St-Armand, a paper-making company in Montréal, to make the paper special for the project and include random holes.

As for the art itself, Carruthers worked with a palette of yellows, blues, and greys similar to the hues she observed during her fieldwork in the Columbia Icefield. She painted the scores on the specially commissioned and perforated paper. Her idea was that, when stacked, they would mimic the layers of a glacier. Accordingly, the original graphic score is meant to be presented stacked, with page one on top. Staying true to glaciers, each sheet represents a history, with the most recent history first.

In their collaborative interpretation of the score, Carruthers and Maestro Girard mapped out the relationship between the layered pages of the artwork and how they reflect the revealed histories of glaciers as they melt due to climate change. In practical terms, this means that parts of the score two pages down will be revealed through the holes in previous pages, so parts of the score begin to be played several pages before they are fully realized.

File consists of a bound version of the graphic score, produced by Maestro Jonathan Girard after the performance of slippages as a method of documentation. Notes included on the pages are his.

File consists of the event program from UBC Symphony Orchestra's performance of slippages on October 5th, 2018 at the Chan Centre for the Performing Arts.

File consists of an early score of Sprung Testament, Di Castri's collaboration with violinist Jennifer Koh, along with added notes.

File consists of a bound copy of the final unpublished score of Sprung Testament, Di Castri's collaboration with violinist Jennifer Koh.

File contains two full scores with handwritten edits and instrumental parts with handwritten edits for horn in F, trumpet in B flat, and trombone, for The Man Watching for brass trio. The file consists of 52 pages.

File contains notes dated 19 January 2024 and a full score final draft dated 20 January 2024 for The Man Watching. File consists of 12 pages.

File contains computer notated sketches and revisions related to The Man Watching, numbered in the order the composer worked on the piece. File consists of 49 pages.

File consists of seven pages in which the composer has handwritten over photocopies of an older score of The Northern Shore and one page of a photocopy of handwriting on a photocopy of an older score of The Northern Shore.

File consists of eleven handwritten score pages of a pencil sketch of The Northern Shore for Percussion, Piano, and Chamber Orchestra. It is a revision of Monk Feldman's 1997 orchestral edition of The Northern Shore.

File consists of the 41-page (front and back) printed score of The Northern Shore for Percussion, Piano, and Chamber Orchestra.

File consists of six handwritten score pages in ink on onion skins from Monk Feldman's 2007 composition, The Pale Blue Northern Sky for Mandolin and Two Guitars.

File consists of one audio CD of three private recordings of live performances of To The Bridge in Winnepeg, Vancouver, and Montreal between 2014-2018.

File consists of one commercial audio CD "Solar" of compositions by Freedman including To The Bridge released in 2018 by the Canada Council for the Arts.

File consists of six concert programs from performances of Freedman's To The Bridge. The first program is a two page (front and back) pamphlet for "Musique 360

File consists of one DVD of three private recordings of live performances of To The Bridge in Hudderville, UK; London, UK; and Montreal, CA between 2014 - 2019.

File consists of one page of textual information about the private DVD and CD performances of To The Bridge. Document lists, for both the DVD and CD, each track that appears, the composer, performer, performance date, and performance venue. Performances of To The Bridge that appear on this document took place between March 3, 2014 - December 10, 2019.

File consists of six pages (front and back) of the earliest version of Freedman's To The Bridge musical score, handwritten notes and edits, and sketches.

File consists of four pages of the final version of Freedman's To The Bridge musical score, handwritten notes and edits, and sketches. This mock-up does not include a fold out introduction.

File consists of six pages (front and back) of the later version of Freedman's To The Bridge musical score, handwritten notes and edits, and sketches.

File consists of four pages (front and back) of lined paper taken from Freedman's beige workbook of notes for To The Bridge.