The fonds consists of a travel journal written by Hewetson during a business trip to British Columbia.

The collection consists of photocopies of legal and financial documents including receipts, promissory notes, orders, agreements which relate to the business transactions of Kwong Lee and Company, Sansum Copper Mining and the Grouse Creek Flume Company.

This is a reproduction of a map of South Atlantic Ocean in 1943, in b&w, depicting the exact location of where Empress of Canada was sunk.

The photographs include one picture of Jack Clarke sometime after 1939 as a chief officer, one photograph of him alongside Foggy Edwards and Larry Gaskill in Vancouver Harbour, and a photograph of all of the Canadian crew of S.S. Empress of Canada taken in January of 1942. There is a list of everybody in this picture, their location, and their ranks in the file.

There are four versions of the same speech in this file: two handwritten and two typed. Betty made revisions to the speech in 1994.

This file includes news paper clippings , printed out articles and stories about the sinking of the Empress of Canada, some of the previous battles the ship was involved in, and the life stories and experiences of some of the survivors.

This file includes some correspondence to John Clarke informing him that he was going to receive a name recognition for his good services during the war. The majority of correspondence are between Betty Clarke Pearson and other survivors of the sinking of Empress of Canada who share their stories and information about the sinking and the history of battles they experienced.

This collection consists of correspondence and published materials gathered by Betty Clarke Pearson about the last voyage of Empress of Canada that was sunk by an Italian submarine on March 14th, 1943. Betty's father, John St.Claire Clarke, was the chief officer of Empress of Canada at the time of the attack. He survived while nearly 400 others were lost. Betty gathered these documents which include newspaper clippings, photographs, correspondence, and a memorandum speech, reflecting stories of her father along with other survivors of the attack.

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 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 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 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.

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.

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

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

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

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

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

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

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

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

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

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 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 8.5” x 11” photographs depicting images of Carruther’s work in progress between March 2018 and July 2018, some of which include handwritten notes on the back side.

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.

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.

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

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

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 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 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.

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, Barbara Monk Feldman, and Ana Sokolović. 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.