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UBC Theses and Dissertations

Compositions Olive, Derek Andrew 2003

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COMPOSITIONS by DEREK ANDREW OLIVE B.Mus., McGill University, 2001 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF MUSIC in THE FACULTY OF GRADUATE STUDIES (School of Music) We accept this thesis as conforming to thf Required standard THE UNIVERSITY OF BRITISH COLUMBIA April 2003 © Derek Andrew Olive 2003 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. of m The University of British Columbia Vancouver, Canada Date flp.:l 2^ 2Qd^ DE-6 (2/88) ABSTRACT - MUSIC COMPOSITIONS BY DEREK OLIVE This thesis is a collection of original musical compositions composed over the course of my Masters at U.B.C. THE PERSISTENCE OF BEING (Chamber and Orchestral versions) The basis of this piece is drive and rhythm! The opening sees the slow unfolding of the melody almost note by note, on occasion interrupted by a few darker motives. Under this unfolding is an ever elongating accompaniment in the strings until the melody is freed and the development of the main theme begins. The melody moves in and out of different grooves until we reach the first high point of the piece. After this high point we finally have a moment of stasis, time to catch our breath before we must once again persist on. This time as the momentum builds, however, there is a new theme, but on our trail are some of the darker elements from the first section. Before closing there is a brief moment of calm, a little reflection where many of the melodic elements make a last little appearance before the piece closes with its initial drive and energy. The chamber version was first performed on February 1, 2002 as part of the West Coast Student Composer's Symposium. The symphonic version was performed by the Vancouver Symphony Orchestra on May 29, 2002 for the Jean Coulthard Readings. Following the reading session the Vancouver Symphony commissioned me for a new work for there 2003/04 concert season. SIX PIECES FOR JAZZ CELLO, GUITAR OR BANJO These pieces were written with jazz cellist Eric Longsworth in mind. I first heard Eric's solo CD in the last year of my undergraduate degree at McGill, it changed my life. His mix of pizzicato and bowed playing cover the gamut, and he acts as bass, cello, and violin in one. Thus I wrote these pieces for Eric and I to perform. The written scores are a mix of a few notational styles, jazz, classical, and some notational ideas of my own to explain some of the non standard guitar techniques I use. There are large improvisational sections in each work allowing the musicianship of the performer to come through, something that has been lost in classical music. The recording took place in Montreal on June 8, 2002. STRING QUARTET NO. 1, FIRST MOVEMENT This work was composed with a rhythmic motive I had used in an older piece, The Optimistic Stumble, that I felt needed more development. This rhythmic element that starts the pieces is used throughout and goes through many different transformations. The idea of the piece was to try find a balance between development and repetition that the average listener could follow. The closing section of the first movement is laced with the style of jazz cellist Eric Longsworth that supports the meandering of the closing. BANJO CONCERTO NO. 1, FIRST MOVEMENT Conceived with the intention of having a final performance by the great banjo player Bela Fleck, this is a draft of the first movement. The idea of the concerto is to show the possibilities for the banjo, an amazing instrument with a beautiful and unique tone. I have found that the banjo is still forced into a category of being an unappealing instrument and wished to try and change this opinion by putting it into a serious environment like a concert hall and calling it a concerto. I also don't take it too seriously as it still is a banjo, strings over a drum head really is rather odd. iv TABLE OF CONTENTS Abs t rac t ii Tab le of Contents . iv THE PERSISTENCE OF BEING (CHAMBER VERSION) 1 THE PERSISTENCE OF BEING (ORCHESTRAL VERSION) 50 SIX PIECES FOR JAZZ CELLO, GUITAR OR BANJO From Sea to Sky 124 In Pure Ether 128 Pas Trop Mais Juste Assez 131 Count ing the Days 134 Stretch ing the Eyes 136 Under the Hor i zon. 140 STRING QUARTET NO. 1, FIRST MOVEMENT 143 BANJO CONCERTO NO. 1, FIRST MOVEMENT 158 1 cu u c GJ -P (/) • «H C/3 +-> fi t/3 fi 01 CL CD O CD Q fc -a O O CM D • i-l OJ CO OJ u c OJ 4-J t/1 • H t/1 £_ OJ CL OJ JZ f— •o 60 o o O T3 .2 *j 3 C 3 c S 8 £ l 3 C O cj -a £ £ '« JB ! E ' S. ' . 3 = • U5 ^ : w _ . .o .E -. u u ! J= 2 , H -5 3 T3 a </)! 09 a o O s-o a E S.I •a E •S 5 £ I •s "O to O E b co E 5 4_) ILI t w o . O « « JC 3 t/i 03 § 5 6 T3 "5 2 i E 3 8 .is t; •s -s 11 Q © DO •c O U 11 B. r S h & J3 < 3 5 6 7 8 9 10 11 13 14 19 21 22 23 26 27 31 34 39 42 43 45 46 50 The P e r s i s t e n c e o f B e i n g for Symphony Orchestra Derek Olive 51 Derek Olive The P Q r s i s t e n c Q o f B Q i n a (2002) Instrumentation: Piccolo 2 Flutes 2 Oboes 2 Bl> Clarinets Bass Clarinet 2 Bassons Contra Basson 4 Horns in F 2 Trumpets in C 3 Trombone Tuba Timpani Percussion 1: orchestra bells, marimba (with mdium mallets), snare drum, djembe (or conga) Percussion 2: vibraphone, motor off with medium mallets, snare drum with sticks, African (or standard) claves covered with 220 grit sandpaper, muffled bass drum with brushes and mallets, suspended ride cymbal with soft mallets Piano 2 Violins 2 violas Cello Double bass The score is in concert pitch Percussion Botes: The African claves will be used simultaneously as claves and sand blocks. The bass drum will be laid flat and muffled. Metal brushes and rattan mallets. The rattan mallets will be used on the rim of the bass drum. As one lengthens and shortens where the rattan mallet strikes the rim the "pitch" of the wood of the mallets will rise and fall. Notation shorthands: Bass drum: Strike with fist (s.w.f.) Suspended cymbal: At the bow (a.t.b.) At the cup, also called the bell (a.t.c.) African claves Normal sound of sandblocks I - B - f ' 1-African claves coved in sandpaper being struck as claves Bass drum -J-Played on the head normally with brushes r (s.w.f) While playing with the metal brushes the bass drum is struck with the first (s.w.f.) Hit the drum head not the rim t Rolled on the rimof the bass drum showing the relative increase and decrease in pitch of the rattan mallets Diembe (or Conga) Open tone r Bass sound, the lowest tone on the drum Suspended ride cymbal Slap At the bow (a.t.bow) -9 At the cup, also called the bell (a.t.c) Approximate duration: 12:30 Copyright © 2002 by Derek Olive non div. -6--10- 61 -11- 62 -13- 64 -15--18-Pice. FI. 1,2 Ob. U CL U B.C1. Bsn. C. Bn. Hn. 1,11 Hn. IIIJV TpL U Tbn. U B.Tbn. Tba. Perc. 1 Pen:. 2 Vb- I VTn.2 Via. Vc. D3. -20- 71 125 125 /C - 1 4 ~ 8 4 4 s 125 2= 3 2 2= 4 8 5 * S J L L, <>: f £ m j = J J =\ j i l =H j j =^ H r n n j J i 125 2 - =• 3*2 . 3 . | 2 . | § 4 = A -4 = 4 4 i -§ = -21--22- 73 139 -25- 76 rit. -27- 78 80 82 195 195 195 Marimba (medium mallets) mf JfflJTn/jirTTl mf 195 mp -34-213 85 213 213 "d? r — i f f r—. f f r , f , n [ ii —j soto__ r r r r rT r r!r cimr i f^r f r f p r f F T i r p fjTf | f 1 1 1 3 5 222 -37- 88 -46- 97 276 286 -50-Vh.2 -51- 102 -52- 103 -55- 106 -60- 111 -63 114 -66- 117 121 r o m S e a t o S Six pieces for jazz cello, guitar or banjo by Derek Olive Six pieces for jazz cello, guitar or banjo (2002) 123 A few explanations of noteheads and other items: Means notes are produced by hammering-on with the index finger of the right hand m Means hammer-on from nowhere Means slap harmonic Slap harmomic means that the harmonic is produced by fretting the necessary notes with the left hand and then slapping the strings at the appropriate node which will produce the written harmonic. With the harmonic there will also be a percussive sound. ~ ~,r- Gma i9 Cmaj9 /E r Cmaj9(#tt) Slashes mean the rhythm of the chords is determined by the performer. For the sake of those not well versed in the jazz language there are chord symbols above some notated passages, i f you are well versed please feel free to create your own accompaniment and ignore the notated sections with chord symbols. There are almost no phrasing or dynamic markings, this is intentional, ignore whatever you want in any part, use your own judgement to make music. Remember all I did was put these melodies on paper, it's now your job to turn these dots into music. The cello accompaniment parts were transcribed from Eric Longsworths performance of the chord symbols. An enormous thanks to Eric for all his input into these pieces and for his wonderful performance. A l l these piece are dedicated to him! Duration for all six pieces: as long as it takes 124 16 125 f it I * • * I II 1 1 J ~ W m^rm:—"-«•—•: a a : g - f> r r 19 21 2nd -=-=—'--m f ' J T == 21 \flT3 j • -* —41 • 2nd (pizz.) Dmaj7 Gmaj7 ^ ^ ^ Bm7 A9 ^ 7 y ;] Solo section, repeat as desired 23 D m a j 7 / 7=^ Gma j7 y y y y =7=? y y 7 7 / =^ Solo section, repeat as desired 23 Dmaj7 y y y Gmaj7 s s s y =7=7 y y y y y =^ 27 Dmaj7 Bm9 Gma j7 ^ / / / / / / s \ / / / ' \s ' s ' \ / ' ' ' \ ' ' * 1^1 2 7 Dmoj7 B m 9 Gmaj7 V'k 7 7 7 y \ y y / / | / / / / / / y I y ^ ^ y 1 ^ y y 126 35 Gma j7 35 • f 37 Dmaj7 37 PflP 39 Bm7 S S S 7 -39 • * - 7 mmmi v 7 m J u i J u 11 tri *m 41 Gmaj7 y s1 y y y y 41 P * — — « r 43 Bm9 Gma j7 l y y y y \ y y y y \ y y y y 46 Dmo j7 y y y y y y y y - y y y y 46 r f > . r > . r g £ N £ S * N £ N #N ftfttf 127 128 guitar tunning: E, A, D, G, B, E In Pure Ether Derek Olive J 0 = 120 BVJI i. n J [ T r i j — MM ^ = — ^ = - =i • 9 m utar ello ~mWm~m —1*—F _ _ 1—e « •1 f 3 J r* -4 |'): % I ' * f f - f =i=p r = ; i ii =i J * J • Emaj9 / / / S \S S / / :|| p-tirnnf ^^[j ifTTfrri i Br u ^ u J J m F f m m f 1 • 1* ? 12 j- \—w i—r « — i r « 1 « P r - r ] j ^ r f J 15 •1 rj Jlr , 1 >f Jlr, ^ = F n rj j —Fsr ft j 15 J J J J [ JJ frdfT rj-rTif i [tlf f r 7 | J. 100 19 Swing Solo section, repeat 1 ending as desired then 2nd ending to exit solos Emaj9 1.2.3. Q|[ ; / / / / \ / / / / | / / / / Bmaj(add4) / / / / j| 19 Solo section, repeat 1 ending as desired then 2nd ending to exit solos E m a j 9 r - s , \+2 1.2.3. F#m7 Bmaj(add4) 23 Emaj9 C#m9 DJJm7(#5) x ^ y y— y y y y / / / / / / -23 y y y ^ y y y 28 Emaj9 Ffrri7/A Dltm7(85) 28 y f y f y / / y / \/ y y y \y y y y FjW/A Djjm7(jl5) y y y s=3\ 32 J= /20 Straightno Swing F#m7 B V I I Em a j7/A id* uil CJ E 32 r Em a J7/A Straight no Swing (first time only) 1 — — j ^ B ^ ^ i y n i i J i m u v V I I I ^ y 130 r^sj • m r- m TO ^ tf •-. W » * m - i B K 9 l - a IT u ^ F si • 1 «f r -—r?-F ! • * 40 hk r n Lr i c—IT ^ L r ^ i j J ^ J J c f 40 ^ ^ , . P r f * • m. ft" cJ Lr » — i 5 T — i -_. • =? 1 * Lf •* 47 | j — - i — — • • d * i • at ! 1. 2 — f i i * —1 1 1 i m » r * ¥ » = t $4 ~ t 2. 50 BVD 3 ^ = r r f f f r r r 50 131 Guitar Pas Tropn Mais Jus te Assez guitar tunning: D, A , D, G, A , D 1-134 Derek Olive 1 i M f l h i—I F m^^W ff Play 2nd time only ~P>zz-arc© WLm. r» I n f r r r Cello E E E S 4 « H [ J r i 1 r: L 1 I J * r ^ ^ : ^ p » i U U P s i pizz. arco ff^T H . I S liUHim i j ? tin n . TI-T.. n , = g d I"- 4 i " . 2 - P - 1 i » i » H - • -*>in i r r r ? T r- /to nr. 1 r f f * P L 2 Z . , . • I-I t m. 'J J u ^ J l i . * — : E 17 1 , . f j f , f > |0 • j g - — J -ft " J 17 *> i:H if -—u—J ' • • J J i - L r r " r =PFf 1 L * = ¥ — b i 0 -•J- ' j J E l J * J 1 J ? T | 21 | J H » . • P . I nffrr3' - n n ff • ™ ff ^ *^  — n — 1 — « • -21 *>=tfjl I f ^ 1 ^ ' J J U J 3 ~ - r - a r | a • -\iT± P~ f» r * — r J - a - — 132 i J i t i i r n r i — ( • — ^ J * J • - — • r p r 1 ft 1 j J J f J 26 ^ [ f ' ~ J — ^ - + L > n i • ^ f f n . C : m : m ' -m f^JJ 1 ' » = = » 30 —i n r " -«-«[-«-«i «» 4i •P 4j ' 4l -*• ! — i r * ( — * T — I '~I f j _ r r r r f r - i s 3 ' 3 9 f j S i i 5 J S 3 1 w w w •> r 3 5 ' i H p H § 38 p 1 TI.I. f — m r*_ r"1 * — .i. 3x ft " 4 i t * 38 i m * * 5 --»" - X — X -•xi -xi i m 3x — | • « <> m* i "f*- * — ~ _ - * — | 4 9- 1 - i — L • •—•-pizz. arco 133 51 1 n r — n . P i « (fo ft — 1 — -51 ^ P f P r r r , f=y—r "T" ^^"5 ^ I I L - ! — J L J — L — C - * P r 1 J d 4 jr 1 C r * 0 C r 1 1 j ~ | Solo section m.l. m Repeat until soloist queues to move to next section -, 55 6ttlMk J = » » Solo section i m i Repeafuntil soloist queues to D_ „ ; -7 move to next section m a j / Repeat until soloist queues to m.l. II: X ^ 7 f / 1 / / = j 1" • -* -m -m f 1 I 4 * f 1 * f V 1— 1 • [ T M 66 Amaj7 Bm11 w * Dma j7 3 * Repeat ai r " nd"F ade' i * * * 134 C o u n t i n g t h e d a y s Derek Olive Guitar guitar tunning: E, A , D, G, B, E J=60 Ebmaj9(#ii) Cello pizz. Ill I* *v Si.——-o FfpH i ' * V - 1 1 9-^- 9- 9—^ 4>J # 9-^r 9_^ m-9 m J = = = d El»majl3(#l l ) 4 . m f *r f f> — J i • r g f f i K rl Efri * 1 == • -i — i * * -rrrrrrrfr 1 | ? | T = 5 E = 10 El>rnaj9(#ll) Gmll El>majl3(#ll) y y y y y y y / y 10 JT - J» . -> i t?l • •> • •ft. J»- • • — i — m m m — L <• L If cello solos guitar plays this 13 # 13 = J • J i p f r F » w » II i r p-r_j-r j ' J r r r i T - r £ f e £ M Gm9 - ^ 4 P • ^ L i 1 N -i r i — : - # ^1 « 1 135 16 Gm9 El>maj9(#n) p 9 / / / / 1 / / / / | If guitar solos cello plays this 16 Gm9 F9 El>maj9(#il) 20 Gm9 Ebmaj9 Dm7/F s s s s r r j r m ± L L P U 35 Gm9 •St i 3®= 20 i i 5 3 El>ma j9 s=*-» b i = 1 i =h= 23 i p- » — : — r 0 ' ' • — m. J • — F - , • — * < 3 = p • - j p j 1 * * m F P ~ F - 1 . — W - 4 m. , • m— m> - 4 — i — • " m 2 50 Gmll = Jr ^ v V y El>majl3(#ll) * y- * f 25 | l?p pP" P - t ^ F r ' X X J * J — C r p r r *~ 2 8 Fmaj9(#l " c ~ i a — i i — H T " ? r 28 N • - • — - - L _ * J « * W F r r F r p i • — n 3 0 Fmoj9(* ] m j n J * n | rn nr. J - * " T 1 % i 1 r 30 N _ < * — w w ^ m m v i ]rr jrJUCT f f f - f f f J i • P » P_ . p ' J'tg " o * H r r ® II 136 banjo tunning: g,C,G,B>D L S t r e t c h i n g t h e E y e s Derek Olive m i J H 4 I I . i r r > r f i r r r P r _ r r r - n i i «. r r » f f m F m r 3 * * -J—— — z - « -J LT CJ 1 Banjo Cello j 1 j J LT n n u i 1 1 C J 0 U ] LT ^ [ j - i r r r r r f r i m 9 Gmaj9 / / / / S / /- S / / / - / / 7==* * J I I I-m 0 "i F r 13 Em9 Bm7/D s / / ir- / / / / ^ = y • • = y / / / * i | err_f~r i r f f r f f f . T | j r r c r r . f i f 17 © — ^ ^ ~ y y y y 1 i 1 m g g m ~ g i T—P~r~ • - f e — y . / L y . 17 m *> 1 ; r [ 1 J J J —^^ —^ —^ —4 - «T J J J 4=M • jf | : * : r r z_r' £ ^ 137 \ltF rf "f r i f * m i -f* • r -— 1 » • i 1 p-m. m *• m #1 a T—' T T ' ^=1 ft r L J 21 L T 1 - 1 ^ —i—. p—J V*~m< 1 3 1 u u u 25 I A » J rl » — • • — r i i r p~~ •— p _ ' • — • — — • — ,m p _ v — « — Wh m 0— 25 7 r f 7 r | r r Solo Section •>o _ cello takes first solo 2 9 Gmaj9 I ^||: / / / / \/ / / / \y / / / \ / / s s\s / / s\ / / / s Em9 29 Gmoj9 ?: / / / / \ / / S S \ / S S Em9 / / / S / / / / \ s / / s 35 J ^ . ^ x y y y y y y y — . . . - j , y y y y y y y y • \% y y y y ./• . /• V -m——^ ^ 35 B m 7 / D f S f f y / / / S r s s Cmaj9 / / / / / s s s . / / / / • y y y y Am9 S r S f / / / / 41 Cmaj9(#n) Bm7 Am9 s y—7—~7~ y y y y y y y y y y y y • 1 r / * * J * * * -m—* ' ' ' 41 Cmaj9(#il) V: * / / / / s y r y / / / / s s r y Bm7 s s s s y y y y / / / / . | / / y y Am9 \/ / / / y y y y / / / / 47 banjo solo Gmaj9 / / s s \ / / / / \ l / / //]////[// // 47 Gma j9 pizz. Harm. Harm. / / / / \s / / / \ Harm. 52 Em9 Bm7/D /P ^ 7 7 7 w- " ./ x y y y y y y y y 4 & — s / / / ^ Harm. <>: ft p g / E * s y m9 s s s X "f9 f — P — I B -« m7/D | ? f l f | s s s s • ( 9 _ 0 Z _ y • ff • k> » •m — ^ 57 Cma j9 m—m. g ? Cmaj9 p e r c / ^ j i n c r i : / 61 " — r r * J » p f"P < f f f i • _ — 1 f P — t * r " i f r ~ p f P 61 J L M 7 ^ — | • f ~ r r > m— y *» — j — J t d 139 67 ~T~ p •ffi r P - F P P f f f i P P "- p f > p — p F ' p .m. p-r r p i f 67 P — j -P—p—— — P — 70 P^frrrr i .Prr 1 ^ 1 «^ f r J"11 r £ Z 7 P — — ^ C9 • t j * I—* A S H 82 £ Harm. J riY. Harm. 82 _ P p banjo tunning: g, C, G, B, D U n d e r t h e h o r i z o n Derek Olive Banjo Cello X»4 mm 4x 3 - v V - XII VII IX vii V VII 4x ^ ^ pizz. V C T .^rri^rn,, ,971.^01 Solo section (11-16) repeat as desired ^ . „ Gmaj9/B Harm. Harm. 1 2 Gmaj9/B ^Hann Dmaj9 Ha Dmaj9 I 2 Gmoj9/B D m a j 9 Q m a j 9 / B Cjjpj^O Gmai9/B Dmaj9 141 Cmaj9(#ii) 15 Em9 Dmaj9 f r r r f E :m9 • • J T4\ # ± 15 # Em9 « — r r Jul Dmoj9 m •-E 1 1 m9 ' 2maj9(#ii) Am11 Gmaj7 ^ ^ ^ ^ ^ • *> • • i - •*• *-m-> / 1 • — B " v v— -a < • 3 - • * -= J ; i -t i - £4£ -p w~. w H I JIT 5 r - r ^ • > c 18 4 maj7 Dmaj9 ^ — J — . ^ — * — mf W i arco " 1 * r 1 M , ii»* * A —^—f-- r = I— * = A A i J T n : ^ 1 ft r 21 * " — ' - is £ f ' * — f • ~ i mp r » , f f — * { * _ r ~ » S t r i n g Quartet No. 1 b y Derek Olive 144 145 > > > > > > > > > > > > 146 > a* ft > > > ! ! A > > > > > > > > > > > > g g g g g g g g g p g p p p p p 11 11 r n — • > f — ~ 1 ! 1 | M J ^ - i 1 r- =-QFppppppppFFFFFFF > > > > > > U«\ + + + + + + + + • 0 p + m + m + + FFFFFFFFFFFFFFFF > > > > > > mp > > > ' t ^ T •' • ^ / w > > > > > 2 - > ^r> r r r > f f 147 148 149 150 151 153 mf (pizz.) mf PHi fl ' t—ul mp ~kr- , r ^ T ...yr. p>.... • — _ j * " ^ U= i » mf J l J ^ [ - J ^ ^ 3 J - 3 - J ^ - J f l - S ] 154 r r - ! t - H — 1 i ! 1 i 1 , , (pizz.) J_jJ J ; / J . J J p ' . r — r — mp f mf F— l j ^U-r E IT" LT— r si ra mf i — r — r ? r •> ^ r ^ r ? r T f i r ; 1 ? r h IS— LJ^ P0„0 ' l>1 13 155 '•tT-LJ~r tf— LS-r tr~u~r o o t: O a o S PQ o ¥ PQ bo .a > -a a> 1 a 156 0 ) > Q 157 73 S © c o o o g © O o <L> a p « 3 C o o <u u a, -a 1 •a O et X> e3 S .C .3 ^ tr5 u 5 3 gp O o o oi 00 a o U a 3 u o u s s o > IP > E:. otto # Pi: "a « H 0 166 171 181 185 

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