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.

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

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

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

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 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 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 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 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 14 pages (front and back) of lined paper taken from Freedman's "little red workbook" of notes for To The Bridge.

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

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

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 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.

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

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 contains sketches for a song and string quartet and a handwritten score and scores with handwritten edits of Victims of Eagles. File consists of 18 pages.

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

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 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 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 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 five medium photographs included in Di Castri's donation.

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.

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

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

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

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 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.