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Subseries consists of biographies of John Beckwith, family records, and other miscellany.

Subseries consists of records relating to honours and awards that John Beckwith received during his lifetime, including honorary doctorates from several Canadian universities, Member of the Order of Canada, and various other tributes. Records include medals, certificates, photographs from award ceremonies, related correspondence, and copies of acceptance and convocation speeches given by Beckwith.

Subseries consists of John Beckwith's certificates, degrees, yearbooks, and select papers from his education at Oak Bay High School (Victoria, British Columbia), Victoria College (Victoria, British Columbia), and the University of Toronto (Bachelor of Music and Master of Music).

Subseries consists of scrapbooks compiled by John Beckwith, which include programs, musicians' autographs, and newspaper clippings of events that Beckwith was interested in, attended, and performed in. One of the scrapbooks (1943) also includes correspondence from John Beckwith's parents (Howard Beckwith and Margaret Beckwith, nee Dunn) and Peg (Peggy Walton Packard), dated 1938, which was tucked inside the front cover of the volume.

Subseries contains unpublished and published letters-to-the editor, including submissions and responses to articles in The Beaver, Bravo, University of Toronto Bulletin, The Globe and Mail, Musicanada (Myra Grimley), Musicworks, National Geographic, Saturday Night, SoundNotes, TSO News, The Torch (University of Victoria), Toronto Star, The Varsity, and Words and Music.

Subseries also contains incoming and outgoing correspondence that John Beckwith designated as "diatribes" or "critical correspondence" with Murray Adaskin, Michael Albano (University of Toronto), Wray Armstrong (Toronto Symphony Orchestra), Bank of Nova Scotia, Elaine Calder (Canadian Opera Company), June Callwood, Care Canada, Adrienne Clarkson (CBC), COC Marketing, COC Publicity, Robertson Cochran (Globe and Mail), James Craig (University of Toronto), Gloria Dent (Guelph Spring Festival), Bronwyn Drainie, Howard Dyck (CBC), Edmonton Opera Guild, Esprit Orchestra, Michael Finlayson (University of Toronto), Fodor's Travel Publications, Jessica Fraser (Toronto Theatre Alliance), Jim Garrard (Toronto Arts Council Foundation), Wayne Gooding (Opera Canada), Michael Goodwin, Joanne Gradzinski (Guelph Spring Festival), Barbara Hall (Toronto City Hall), Dan Heap MP, Linda Hutcheon, William Kilbourn, Alison Latham (Oxford University Press), Murdo Mackinnon, Rick MacMillan (SOCAN), Lynn McDonald MP, Joanne Morrow (Canada Council), Ontario Court, Orchestras Canada, Robert Pritchard (University of Toronto), Doreen Rao (University of Toronto), John Reid (Canadian Music Centre, Calgary), Jeffrey Richards (Lancaster University), Robert Rosevear, St. James Press, Rodney Sharman, Georg and Tanya Tintner, William Toye, (Oxford University Press Canada), University of Toronto Parking Office, Blanche Lemco van Ginkel, Hazel Walker (Toronto Musicians' Association), and Tara Wilson (University of Toronto President's Circle).

Subseries consists of correspondence and memorandums between John Beckwith and various individuals at the University of Toronto during Beckwith's tenure at the Faculty of Music. Subseries includes materials relating to one of his early teaching contracts with the Royal Conservatory of Music as well as his appointment as Dean of the Faculty of Music and subsequent correspondence and memorandums as Dean (1970-1977).

Subseries consists of incoming and outgoing correspondence between John Beckwith and publishers, government agencies, and various performing arts organizations regarding the publication, performance, and commissioning of works by Beckwith.

Subseries consists of correspondence between John Beckwith and various friends, colleagues, musicians, and collaborators.

Subseries consists of drafts, research notes, reviews, and correspondence relating to books, lectures, and articles written by John Beckwith. Subseries includes materials for both unpublished and published writings.

Subseries consists of materials relating to John Beckwith's work as a music educator at the University of Toronto Faculty of Music. Records include course outlines, bibliographies, handouts, and other notes for a sample of Beckwith's courses, including "Music of North America," an undergraduate-level course that Beckwith designed and initiated at the Faculty of Music. Beckwith started as a part-time lecturer at the University of Toronto in 1952 and taught full-time from 1955 to 1990. He continued to teach occasionally as professor emeritus following his retirement in 1990.

Subseries consists of audio and video recordings of events, lectures, and radio interviews that John Beckwith was involved with. Subseries also includes recordings of CBC radio documentaries that John Beckwith researched and prepared, including one on the music of Harry Partch and another for Pierre Boulez.

Subseries consists of recordings of concerts in the Music at Sharon summer concert series that were recorded by and broadcast on CBC radio. Recordings included in this subseries are of concerts for which John Beckwith researched, selected, and arranged the music.

Subseries consists of recordings of performances of works by John Beckwith, including recordings from CBC broadcasts and recordings of public performances.

Subseries consists of radio scripts, program lists, repertoire lists, and related correspondence for radio programs and documentaries that John Beckwith planned and wrote for the Canadian Broadcasting Corporation (CBC). Radio series included "Music in our Time" (1953-1956); "Music of the Church" (1954-1957); "The World of Music" (1956-1963); "Music Diary" (1963-1968); and other occassional contributions to other programs. Beckwith also prepared documentaries on Hector Berlioz, Frédéric Chopin, Pierre Boulez, Bela Bartok, and Glenn Gould.

Subseries consists of draft program notes and related correspondence from John Beckwith's time as a program note writer for the Toronto Symphony Orchestra (TSO). Subseries also includes newspaper clippings and notes from Beckwith's research on TSO's repertoire from 1960 to 1974.

Subseries consists of select drafts of concert reviews, related correspondence, and an index of concert reviews that John Beckwith wrote for the Toronto Star between 1959 and 1962 during his first stint as a regular critic for the paper. Beckwith also wrote occassional reviews for The Globe and Mail.

Subseries consists of posters for performances of works by John Beckwith and for book launches of monographs by Beckwith. Some posters are autographed by performers. Posters include:

• The Shivaree (Comus Music Theatre of Canada, April 3-6, 1982) [autographed by performers]
• Musique Royale : A Festival of Music in Historic Settings [including a performance of John Beckwith's Hector by Musick Fyne, 1992]
• Night Blooming Cereus (University of Victoria, Opera Nova, January 15-18, 1992)
• John Beckwith (Centrediscs, CMC-CD 5897, 2003)
• Taptoo! (University of Toronto Faculty of Music Opera Division, March 7-8, 14-15, 2003) [autographed by performers]
• Expanding Interdisciplinarity Through Opera: Taptoo! (University of Toronto Munk Centre for International Studies, March 8, 2003)
• Weinzweig: Essays on His Life and Music [book launch, Faculty of Music, 2011]
• Unheard Of: Memoirs of a Canadian Composer [book launch, Faculty of Music, 2012]
• Mapping Canada's Music: Selected Writings of Helmut Kallman [book launch, Faculty of Music, 2013].

Subseries consists of correspondence, meeting minutes, programs, reviews, scripts, posters, photographs, and other materials pertaining to various concerts and events that John Beckwith participated in as an administrator, organizer, researcher, performer, composer, and/or speaker.

Subseries consists of programs from performances by John Beckwith, programs performances of Beckwith's compositions and arrangements, and programs with program notes by Beckwith.

Subseries consists of arrangements by John Beckwith for A 19th Century Celebration: U.S. and Canadian Music, 1767-1867 program (July 30, 1989) at Music at Sharon, as well as related programs, notes, and correspondence.

Subseries consists of arrangements by John Beckwith for the Sharon Remembered concert (July 6, 1991) as part of the final Music at Sharon season, which took place at the Sharon-Hope United Church in Newmarket, Ontario. Subseries also includes related programs, notes, and correspondence.

Subseries consists of arrangements by John Beckwith for the Images of Canada: 1888 program at Music at Sharon (July 23, 1988), as well as related programs, notes, and correspondence.

Subseries consists of the program for the 1987 "Music at Sharon" season. John Beckwith was not involved in the selection, arrangement, and research of Canadian material for the 1987 season, but some of his previous arrangements were reused in The English Brass Ensemble concert (July 25, 1987), Images of Canada (July 25, 1987). New arrangements for this season were prepared by David Passmore and Louis Applebaum.

Subseries consists of arrangements by John Beckwith for the Canada's Scottish Heritage program (July 12, 1986) and A Concert Party concert (July 26, 1986) at Music at Sharon, as well as related programs, notes, and correspondence.

Subseries consists of arrangements by John Beckwith for the Images of Canada: The Sea and the Spirit program at Music at Sharon (July 13, 1985), and related programs, notes, and correspondence.

Subseries consists of arrangements by John Beckwith for the Musicfrom the Silver Band Era concert (July 14, 1984); Happy Birthday Ontario and Quebec concert (July 14, 1984); and the Birds and Battles concert (July 21, 1984) at Music at Sharon. Subseries also includes arrangements for the Musical Toronto: A Concert Party program at Roy Thomson Hall (June 20, 1984) as part of the Toronto International Festival, which reused many of the arrangements that Beckwith created for Music at Sharon and featured many of the same musicians, and programs, notes, and correspondence pertaining to all three concerts.

Subseries consists of arrangements by John Beckwith for the Heritage Celebration Program (July 1, 1982) and Love, Laughter, and Tradition concert (July 10, 1982) at Music at Sharon, and related programs, notes, and correspondence.

Subseries consists of arrangements by John Beckwith for the Heritage Celebration program (July 9, 1983); the Jenny Lind and Friends concert (July 16, 1983); and Music for a Summer Afternoon (July 16, 1983) at Music at Sharon. Subseries also includes related programs, notes, and correspondence.

Subseries consists of arrangements by John Beckwith for the Heritage Celebration Program at Music at Sharon on July 11, 1981 and related programs, notes, and correspondence.

Subseries consists of indices of John Beckwith's arrangements for Music at Sharon concerts as well as correspondence, notes, and a copy of a paper that Beckwith gave on his arrangements at the Canadian University Music Society (CUMS) conference in 1990.

Subseries consists of music that Derek Healey wrote as birthday presents and other gifts for his wife Olive May Healey (née Smith), Derek George Fleetwood Bell, and other family and friends.

Subseries consists of various shorter and longer miscellaneous, non-opus numbered works by Derek Healey.

Subseries consists of miscellaneous anthems and motets set by Derek Healey, including manuscripts, transparencies, and master scores.

Subseries consists of Derek Healey's settings of various carols, including carols that were included in Healey's Liber Natalis, op. 84.

Subseries consists of events featuring the faculty and students of the voice program. Most events take place on Tuesdays at noon.

Subseries consists of programs and recordings of concerts of works written by student composers.

Subseries consists of programs and recordings of concerts in the Thursday at Noon series. This series features faculty and guest artists in small ensemble chamber music and vocal or instrumental recitals. Traditionally, these events take place in Walter Hall at the Faculty of Music on Thursday afternoons.

Subseries consists of programs and recordings of performances presented by the University of Toronto Opera Division.

Subseries consists of programs and recordings of concerts by the Faculty of Music's jazz ensembles, including two Jazz Orchestra; the Jazz Orchestra 12tet; and the Vocal Jazz Ensemble, directed by Christine Duncan.

Subseries consists of events that were part of the University of Toronto New Music Festival (UTNMF), an international festival of contemporary music presented annually by the University of Toronto Faculty of Music. The festival was coordinated by Norbert Palej.

Subseries consists of concerts, master classes, guest lectures, and other events led by faculty members and guest artists at the University of Toronto Faculty of Music.

Subseries consists of programs and recordings of performances by large ensembles in the Faculty of Music, including: University of Toronto Symphony Orchestra, conducted by Uri Mayer; Wind Ensemble, conducted by Gillian MacKay; Wind Symphony, conducted by Pratik Gandhi; Contemporary Music Ensemble, conducted by Wallace Halladay; MacMillan Singers, conducted by Jamie Hillman; Chamber Choir, conducted by Lori-Anne Dolloff; Soprano/Alto Chorus, conducted by Kathleen Allan; Tenor/Bass Chorus, conducted by Thomas Burton; Guitar Orchestra, conducted by Rob MacDonald; and Graduate Classical Saxophones, conducted by Wallace Halladay.

Subseries consists of scripts, scores, and parts for incidental music by Phil Nimmons for various radio and television programs.

Subseries consists of sketches and photographs of set and costume designs for productions by the Opera School, including:

• Figaro's wedding costume from Mozart's Le Nozze di Figaro : costume design for Andrew MacMillan, designed by Stewart Bagnani (1948 and 1951)
• Ballet, act III from Mozart's Le Nozze di Figaro : costume design by Stewart Bagnani (1948 and 1951)
• Susanna's wedding dress from Le Nozze di Figaro : costume design for Marguerite Gignac, designed by Stewart Bagnani (1948 and 1951)
• Sparafucile from Verdi's Rigoletto : costume design for Jan Rubes, designed by Stewart Bagnani (1950)
• Don Giovanni from Mozart's Don Giovanni : costume design for Edmund Hockridge, designed by Stewart Bagnani (1950)
• Donna Elvira's travelling costume from Mozart's Don Giovanni : costume design for Elizabeth Benson Guy, designed by Stewart Bagnani (1950)
• Rossini's Il Turco in Italia : [photograph of set design] (November 1968)
• Verdi's Rigoletto : costume designs for Rigoletto by Suzanne Mess (1973)
• Mozart's Don Giovanni : [photographs of set design] (March 1978)
• Britten's Rape of Lucretia : [slides for projection] (December 1978)
• Offenbach's Orpheus in the Underworld : costume sketch for Pluto, designed by Elsie Sawchuk [photograph] (March 1979)
• Britten's Sir John in Love : [set designs] (March 1984)
• Mozart's Don Giovanni : costume designs for Donna Anna, performed by Alyssa Durnie and Leannie Kaufman [2017]
• Mozart's Marriage of Figaro : production sketches (n.d.).

Subseries consists of various brochures, syllabi, and histories of the Opera School, later renamed the Opera Department and now known as the Opera Division. Items include the constitution and by-laws of the Royal Conservatory Faculty Association (1971); Royal Conservatory of Music and Faculty of Music Summer School syllabus (1958, 1971, 1974); Royal Conservatory of Music Year Book (1963-1964); Royal Conservatory of Music Senior School syllabus (1948-1949); histories and overviews of the Opera School (1947, 1971); Directory of Opera Companies and Workshops in the United States and Canada (1971); The Bulletin from the Royal Conservatory of Music (1965).

Subseries consists of photographs and contact sheets of most major Opera School productions between 1946 and 2016; headshots of performers and administrators (Kathryn Knapp, John Beckwith, Ettore Mazzoleni, Tyrsa Gawrachynsky, Jacqui Lynn Fidlar, Tania Perrish, Eve-Rachel McLeod, Herman Geiger-Torel, Virginia Lippert, Marion Parsons, Ernesto Barbini, Ermanno Mauro, Alpar the fencing master); and photographs from various Opera School events, including the Opera Department's 25th anniversary, the commemoration of the Herman Geiger-Torel room, and Lofti Mansouri's visit. Subseries also includes photographs of MacMillan Theatre, Walter Hall, the construction of the Edward Johnson Building, opera student scholarship winners, and Helen May's lesson with Dr. Ernesto Vinci, with Emelie Rubleu at the piano (June 25, 1952).

Subseries includes photographs from the following productions:

• Opera excerpts (December 1946)
• The Bartered Bride by Bedřich Smetana (April 1947)
• Orfeo and Eurydice by Christoph Willibald Gluck (February 1948)
• Rosalinda by Johann Strauss (May 1948)
• The Marriage of Figaro by Wolfgang Amadeus Mozart (December 1948)
• Gianni Schicci by Giacomo Puccini (March 1949)
• La Bohème by Giacomo Puccini (May 1949)
• Hansel and Gretel by Engelbert Humperdinck (November 1950)
• Rigoletto by Giuseppe Verdi (February 1950)
• Opera School film by the National Film Board (1951)
• The Old Maid and the Thief by Gian Carlo Menotti (April 1952)
• Madame Butterfly by Giacomo Puccini (February 1953)
• Cosi fan tutte by Wolfgang Amadeus Mozart (February 1953)
• Angelique by Jacques Ibert (May 1953)
• The Telephone by Gian Carlo Menotti (April 1955)
• Amelia Goes to the Ball by Gian Carlo Menotti (April 1959)
• The Marriage contract by Gioachino Rossini (April 1960)
• Die Kluge by Carl Orff (April 1961)
• The Mother by Alois Hába (April 1961)
• Maria Egiziaca by Ottorino Respighi (April 1961)
• A Dinner Engagement by Lennox Berkeley (April 1962)
• Cosi fan tutte by Wolfgang Amadeus Mozart (1963)
• Amahl and the Night Visitors by Gian Carlo Menotti (December 1964)
• Albert Herring by Benjamin Britten (March 1964) [opening of MacMillan Theatre]
• Angélique by Jacques Ibert and Le Pauvre Matelot by Darius Milhaud (April 1964)
• The Secret Marriage by Domenico Cimarosa (February 1965)
• Deirdre by Healey Willan (April 1965)
• The Love for Three Oranges by Sergei Prokofiev (December 1965)
• L'Oca del Cairo by Wolfgang Amadeus Mozart (January 1966)
• Die Kluge by Carl Orff (February 1966)
• The Portuguese Inn by Luigi Cherubini and The Wandering Scholar by Gustav Holst (March 1966)
• Deirdre by Healey Willan (September 1966)
• Hansel and Gretel by Engelbert Humperdinck (December 1966)
• The Impressario by Wolfgang Amadeus Mozart and Le Portrait de Manon by Jules Massenet (January 1967)
• The Rape of Lucretia by Benjamin Britten (February 1967)
• Dialogues des Carmelites by Francis Poulenc (April 1967)
• Oedipus Rex by Igor Stravinsky (November 1967)
• Le Portrait de Manon by Jules Massenet and There and Back by Paul Hindemith (December 1967)
• The Magic Flute by Wolfgang Amadeus Mozart (December 1967)
• The Unwilling Physician by Salvatore Allegra and Il Combattimento di Tancredi by Claudio Monteverdi (January 1968)
• Pelléas et Mélisande by Claude Debussy (March 1968)
• The Turk in Italy by Gioachino Rossini (November 1968)
• Amahl and the Night Visitors by Gian Carlo Menotti (December 1968)
• Hamlet by Humphrey Searle (February 1969)
• Ariadne on Naxos by Richard Strauss (March 1969)
• "A School for Opera" by Wolfgang Amadeus Mozart, Gioachino Rossini, Giuseppe Verdi, and GIacomo Puccini (March 1970)
• Iphigenie en Tauride by Christoph Willibald Gluck (November 1970)
• The Little Sweep by Benjamin Britten (December 1970)
• "The Magic of Opera" by Carl Maria von Weber, Giuseppe Verdi, and Jacques Offenbach (March 1971)
• The Rake's Progress by Igor Stravinsky (December 1971)
• The Marriage of Figaro by Wolfgang Amadeus Mozart (March 1972)
• Falstaff by Giuseppe Verdi (January 1973)
• L'Ormindo by Francesco Cavalli (April 1973)
• The Prisoner's Play by John Rea (May 1973)
• Don Giovanni by Wolfgang Amadeus Mozart (January 1974)
• Cosi fan tutte by Wolfgang Amadeus Mozart (1974)
• Dido and Aeneas by Henry Purcell and Gianni Schicci by Giacomo Puccini (April 1974)
• The Elixir of Love by Gaetano Donizetti (January 1975)
• Cosi fan tutte by Wolfgang Amadeus Mozart (April 1975)
• The Crucible by Robert Ward (January-February 1976)
• The Mines of Sulphur by Richard Rodney Bennett (April 1976)
• The Four Ruffians by Ermanno Wolf-Ferrari (January 1977)
• Katya Kabanova by Leoš Janáček (March 1977)
• Albert Herring by Benjamin Britten (December 1977)
• Orpheus in the Underworld by Jacques Offenbach (December 1977)
• Don Giovanni by Ralph Vaughan Williams (March 1978)
• Rape of Lucretia by Benjamin Britten (November 1978)
• Orpheus in the Underworld by Jacques Offenbach (March 1979)
• L'Enfant Prodigue by Claude Debussy and Gianni Schicci by Giacomo Puccini (November 1979)
• Dialogues of the Carmelites by Francis Poulenc (March 1980)
• The Marriage of Figaro by Wolfgang Amadeus Mozart (November 1980)
• Patience by Arthur Sullivan (March 1981)
• La Perichole by Jacques Offenbach (November 1981)
• Amelia Goes to the Ball by Gian Carlo Menotti and Riders to the Sea by Ralph Vaughan Williams (March 1982)
• Don Giovanni by Wolfgang Amadeus Mozart (November 1982)
• Dido and Aeneas by Henry Purcell and L'Heure Espagnole by Maurice Ravel (March 1983)
• Riders to the Sea by Ralph Vaughan Williams (March 1983)
• Opera excerpts (1983)
• Maria Egiziaca by Ottorino Respighi and Prima Donna by Arthur Benjamin (November-December 1983)
• Sir John in Love by Ralph Vaughan Williams (March 1984)
• The Marriage of Figaro by Wolfgang Amadeus Mozart (March 1985)
• Mamelles de Tiresias by Francis Poulenc (March 1986)
• The Goose of Cairo by Wolfgang Amadeus Mozart (March 1987)
• Angelique by Jacques Ibert (March 1987)
• Riders to the Sea by Ralph Vaughan Williams (March 1988)
• The Marriage Contract by Gioachino Rossini (March 1988)
• La Caterina by Joseph Haydn (March 1989)
• Iolanta by Arthur Sullivan (March 1989)
• Patience by Arthur Sullivan (March 1990)
• "French Trilogy": L'Enfant Prodigue by Claude Debussy, Le portrait de Manon by Jules Massenet, and M. Choufleuri by Jacques Offenbach (February 1991)
• The Marriage of Figaro by Wolfgang Amadeus Mozart (March 1992)
• Dido and Aeneas by Henry Purcell (March 1993)
• Gianni Schicci by Giacomo Puccini (March 1993)
• The Goose of Cairo by Wolfgang Amadeus Mozart and The Breasts of Tiresias by Francis Poulenc (March 1994)
• Iolanthe by Arthur Sullivan (March 1995)
• L'étoile by Emmanuel Chabrier [March 1997]
• La finta giardiniera by Wolfgang Amadeus Mozart (November 1997)
• Paul Bunyan, op. 17 by Benjamin Britten (March 1998)
• Threepenny opera by Bertolt Brecht (November 1998)
• Dialogues des Carmelites by Francis Poulenc (March 1999)
• A Midsummer Night's Dream, op. 64 by Benjamin Britten (November 1999)
• La Rondine by Giacomo Puccini (February 2000)
• Die Fledermaus by Richard Strauss (November 2006)
• L'Heure Espagnole by Maurice Ravel [March 2009]
• The Secret marriage by Domenico Cimarosa (2010)
• Don Giovanni by Wolfgang Amadeus Mozart (March 2011)
• Don Pasquale by Gaetano Donizetti (November 2013)
• The Machine Stops by Patrick McGraw, Robert Taylor and Stephen Webb, libretto by Michael Albano, based on the short story by E.M. Forster (January 2016)
• Ariadne auf Naxos by Richard Strauss (n.d.)
• The Four ruffians by Ermanno Wolf-Ferrari (n.d.)
• Barber of Seville by Gioachino Rossini (n.d.)
• Orpheus (n.d.)
• Dialogues des Carmelites by Francis Poulenc (n.d.)
• Riders to the sea by Ralph Vaughan Williams (n.d.)
• Rape of Lucretia by Benjamin Britten (n.d.)
• L'Enfant Prodigue by Claude Debussy (n.d.)
• Iolanta by Arthur Sullivan (n.d.)
• M. Choufleri by Jacques Offenbach (n.d.)
• Manon by Jules Massenet (n.d.)
• Patience by Arthur Sullivan (n.d.)
• Elixir of Love by Gaetano Donizetti (n.d.)
• The Marriage of Figaro by Wolfgang Amadeus Mozart (n.d.)
• Cosi fan tutte by Wolfgang Amadeus Mozart (n.d.)

Subseries consists of programs and recordings of concerts in the Thursday Noon series. This series features faculty artists as well as guests, and usually feature small ensemble chamber music and vocal or instrumental recitals.

Subseries consists of programs and recordings of concerts in the Thursday Noon series. This series features faculty artists as well as guests, and usually feature small ensemble chamber music and vocal or instrumental recitals.

Subseries consists of programs and recordings of concerts in the Thursday Noon series. This series features faculty artists as well as guests, and usually feature small ensemble chamber music and vocal or instrumental recitals.

Subseries consists of programs and recordings of concerts in the Thursday Noon series. This series features faculty artists as well as guests, and usually feature small ensemble chamber music and vocal or instrumental recitals.