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Fonds contains music manuscripts, published copies of Branscombe's arrangements and compositions with inscriptions from the composer, photographs, and programs.

Fonds consists of a scrapbook with programs and press notices of Olive Scholey's performances as a contralto, at the Toronto College of Music, and in other venues in Southern Ontario.

Fonds includes manuscript scores of compositions and arrangements written for Boss Brass recordings. All arrangements are by Rob McConnell. The fonds also includes some original compositions by McConnell. Scores are assigned dates based on the date of recording by Boss Brass, and later by the Rob McConnell Tentet.

Fonds includes memorabilia , photographs, correspondence, lecture notes, brochures and programs.

Collection contains photographs, programs, and press notices of his performances; manuscripts of songs written for him by composers including Castelnuovo-Tedesco, Lalo and Pizzetti; five collections of published songs; a scrapbook of programs from his first year as manager of the Metropolitan Opera.

Fonds consists of a collection of signed portraits, mainly dated 1920-1924: Eva Clare, Herbert A. Fricker, Ernest Hutcheson, Isidor Philipp, Augustus S. Vogt, Paul Wells, Ernest F. White.

Fonds consists of jazz compositions, dance band arrangements, and biographical materials.

Fonds consists of the administrative, financial, and performance records of the Aldeburgh Connection. Most of the fonds consists of materials created for, and as a result of, each concert produced by the Aldeburgh Connection, including promotional materials, scripts, annotated scores, correspondence, research notes, and reviews. The fonds also contains textual materials from the production of the Aldeburgh Connection’s recording projects, promotional events, board minutes, complete financial records, and correspondence regarding their fundraising efforts.

Collection consists of late-eighteenth, nineteenth, and early-twentieth century flutes, predominantly made by various builders and companies in London, England, as well as two from Paris, one from France, and one from Bayreuth, Germany. The collection covers the mechanization and modernization of the flute, including the addition of holes and keys, and the move from wood to metal for the body of the flute.

Fonds consists of records created during Ron Collier's career as a performer, composer, arranger, teacher, and band leader. The fonds includes manuscripts of Collier's arrangements and original compositions; correspondence with musicians; photographs; lecture notes from his career at Humber College in Toronto, Ontario; and records from his collaborations with Duke Ellington. Fonds also contains audio and video recordings of performances and lectures.

Fonds consists of Myron Schaeffer's notes and drafts for lectures, articles, and an unpublished book on electronic music. The fonds also contains condolence correspondence following his death, his obituary, and scores and sketches for a couple of his electronic compositions.

Fonds consists of autograph manuscript scores and parts for compositions and arrangements for orchestra, string orchestra, string quartet, and woodwind quintet by Robert G. Manson.

Fonds consists of records pertaining to the career of composer, organist, and teacher Derek Healey. Records include manuscripts from his original compositions (op. 1-164) and other shorter works and arrangements; rough notes for his compositions; posters, fliers, postcards, programs, and photographs from performances of his compositions; significant correspondence with colleagues, including librettist Norman Newton, with whom Healey collaborated on his opera Seabird Island, op. 46; and copies of lectures, articles, and reviews of his compositions.

Fonds consists of scrapbooks and signed photographs, predominantly relating to concerts by the Toronto Conservatory Symphony Orchestra (which became the Toronto Symphony Orchestra in 1908).

Fonds consists of digital images of the 211 page music instruction manual.

Collection consists of electronic music compositions created at the University of Toronto Electronic Music Studio (UTEMS) and copies of tapes made at other electronic music studios around the world. The collection includes the two original card-catalogue indices for the tape collection, organized by tape number and by composer, and accompanying reports and manuals used in the studio.

Fonds contains writings, family letters, photographs, photocopies of biographical documents, collected by Bob Arlidge, and manuscripts of Arlidge's original compositions, arrangements, and transcriptions of performed pieces.

Fonds contains documents relating to Leslie R. Bell's career as a composer, arranger, choral conductor, educator, and music columnist. Materials include manuscript music (both of arrangements and original compositions); radio scripts and notes relating to his work in broadcasting as a radio commentator for CBC and CFRB, Toronto; publicity documents relating to performances by Leslie Bell and the Leslie Bell Singers; correspondence; documents relating to his work as the co-founder and first executive director of the Canadian Music Educators' Association (CMEA); and, newspaper articles, including those written by Bell and about him). The fonds also contains postmortem documents, including condolence correspondence to his wife, Leona Bell, and documents relating to the Leslie Bell Singers reunions and the Leslie Bell Scholarship.

Fonds includes a Minute book 1898-1916, with programs pasted in; 1906 revised Constitution; correspondence to and from members, 1913-1916; undated list of members.

Fonds includes audio tapes, video art works, correspondence, compositions and arrangements, scrapbooks, and term papers for Taussig's graduate courses.

Fonds includes catalogues of the libraries of Boyd Neel's orchestras, and catalogues of his personal scores and recordings collections. Fonds also includes recordings of performances conducted by Boyd Neel, and a photograph of Neel conducting one of his orchestras.

Fonds contains materials relating to Eileen Law's career as a contralto and teacher, including programs, reviews and publicity materials of performances, photographs, and teaching materials.

Fonds includes 110 files of sketches and final copies for many of his musical works; 3 files of theoretical and critical writings; and, 1 file of programs and press notices.

Fonds consists of records created, accumulated, and used by Doug Riley between the years 1966-2007. The majority of the records in this fonds is sheet music resulting from collaborations with other musicians, arrangements by Doug Riley, or original compositions. Although the fonds consists largely of jazz music, there is a wide variety of genres including classical music represented. Audio recordings could prove useful in the understanding of Doug Riley's performances or musical techniques.

Throughout his career Doug Riley collaborated in a variety of projects including composing music for theatre, television, awards shows, and social events. The fonds includes evidence of these projects including scripts, itineraries, storyboards, etc.

Also included in the fonds is correspondence between Doug Riley and other prominent figures in the music industry. Many set lists included in the fonds could provide insights into the performances of Doug Riley.

Collection consists of materials relating to musical life in Toronto, Ontario. The collection includes photographs of various Canadian and European musicians, including various photographs of Canadian Opera Company productions from the late 1980s and early 1990s, autographs from various opera singers and musicians from the late-nineteenth century, three scrapbooks with newspaper clippings and programs, and a collection of songs published in the Toronto Evening Telegram at the end of the nineteenth century.

Collection consists of reference materials relating to John Francis Johnstone's compositions for voice and piano, his family, and the performance of his songs after his death.

Collection consists of a handwritten book of lyrics for songs written by the American composer Roy Lamont Smith, and a collection of his published and unpublished (manuscript) sheet music.

Collection predominantly consists of programs that Carl Morey collected from attending performances and for research purposes. Some programs include program notes written by Morey (e.g., Canadian Opera Company programs, among others), ticket stubs, newspaper clippings of reviews of the performances, and/or autographs from the performers.

Collection consists of 9 recorded interviews, both audio and video. The interviews were held by members of the design team for the exhibit Polyphony: Diversity in Music, and feature students and faculty from the University of Toronto Faculty of Music and musicians based in Ottawa, Ontario; Toronto, Ontario; and Regina, Saskatchewan. Interviewers used questions to help the interviewers share their experiences with diversity in music. Questions included whether they identified with current categories in racial discourse (i.e. BIPOC), whether their culture or identity has impacted their opportunities, and what advice they would offer to emerging BIPOC musicians. Themes within the interviews cover a broad range of topics, including systemic discrimination, imposter syndrome, racism, identity, and music pedagogy.

Collection consists of manuscript copies of vocal jazz ensemble arrangements, transcribed and copied by Lisa Martinelli while she was the director of the Vocal Jazz Ensemble at the University of Toronto Faculty of Music. Collection includes manuscript vocal scores and parts for accompanying rhythm section.

Collection consists of records of the activities of the John Adaskin Project, formerly the Graded Educational Music Plan, started by John Adaskin in 1961 at the Canadian Music Centre. Records include notes and drafts of articles, lectures, presentations, and workshops on the project; records and correspondence relating to commissions by the project; correspondence with contributors and educators; guidelines for submissions; lists of publications; and records from the first three symposiums and seminars hosted by the project (1963, 1965, and 1967).

Fonds consists of publicity materials for the piano duo of Kathleen Irwin and Winifred Mazzoleni and manuscript scores for voice and piano by Kathleen Irwin.

Fonds consists of programs, speaking notes, correspondence, and newspaper clippings relating the Opera Exchange, an initiative co-organized by University of Toronto professors Caryl Clark and Linda Hutcheon, in conjunction with the Munk Centre for International studies (2001-2002) and the Canadian Opera Company (COC) (2003-2015).

The Opera Exchange held three symposia per year, with the aim to create a collaborative environment where students, faculty, and members of the public could discuss opera from various perspectives and disciplines, including musicology, literature, drama, history, political science, and gender studies. The program was initially named "The Humanities Initiative" and early symposia focused on works performed by the University of Toronto Opera School, Opera Atelier, and the COC.

Symposia:

• 2002 Humanities Initiative symposia (Munk Centre for International Studies, University of Toronto)
  • Transformations of Salome (January 19, 2002)
  • Iron Road: intersecting dreams and dialogues (March 1, 2002)
  • The many faces of Boris Godunov (April 6, 2002) [in collaboration with the Centre for Russian and East European studies)
• 2002-2003 Humanities Initiative symposia (Munk Centre for International Studies, University of Toronto)
  • Oedipus Rex: plagues and politics (October 5, 2002)
  • Apprenticing with a sorceress: Handel's Alcina (November 15, 2002)
  • Taptoo! (March 8, 2003)
• 2003-2004 Opera Exchange symposia (Munk Centre for International Studies, University of Toronto
  • Peter Grimes: the loner vs. the town (October 4, 2003)
  • Falstaff: the maestro takes on the bard (January 31, 2004)
  • Die Walküre: why Wagner? (April 17, 2004)
• 2004-2005 Opera Exchange symposia (Bader Theatre, Victoria University)
  • The Handmaid's tale: no balm in this Gilead (October 2, 2004)
  • Siegfried: the forging of a hero (January 29, 2005)
  • Tancredi: Sicilians, Saracens, singers (April 2, 2005) [in conjunction with an American Musicological Society chapter meeting at the University of Toronto]
• 2005-2006 Opera Exchange symposia (Faculty of Music and Bader Theatre)
  • Rodelinda and Carmen: girls night out! (October 22, 2005 at Walter Hall)
  • Götterdämmerung: return of the ring (February 4, 2006 at Bader Theatre)
  • Wozzeck : opera for a modern age (April 1, 2006 at Bader Theatre)
• 2006 Opera Exchange symposia on Wagner's Ring Cycle (Bader Theatre, Victoria University)
  • Cycle I: putting the ring on stage (September 16, 2006)
  • Cycle II: putting the ring in context (September 13, 2006)
  • Cycle III: putting the ring on record (September 30, 2006 at Hilton Hotel)
• 2007-2008 Opera Exchange symposia (Bader Theatre, Victoria University)
  • Who (what) is the real Don Carlos? on Verdi's Don Carlos (October 27, 2007)
  • To be or not to be: from the house of the (living dead) on Janacek's From the House of the Dead (February 9, 2008)
  • Letting down your hair with Pelléas and Mélisande (May 20, 2008)
• 2008-2009 Telling Stories through Opera, The Opera Exchange, three symposia in conjunction with the Jackman Humanities Institute
  • Monster opera: Prokofiev's War and Peace (October 18, 2008)
  • Love and liberation: Beethoven's Fidelio (January 31, 2009)
  • "Antique fables and fairy toys": Britten's A Midsummer Night's Dream (May 9, 2009)
• 2009-2010 Opera Exchange symposia (Faculty of Music, University of Toronto)
  • Stravinsky/Lepage: a magical meeting of minds (October 17, 2009)
  • Shakespeare's Othello and Verdi's Otello: staging jealousy (February 6, 2010)
  • Staging Der fliegende Holländer for our times? (May 1, 2010)
• 2010-2011 "Voice and Spectacle," The Opera Exchange, three symposia presented by the Jackman Humanities Institute, Faculty of Music, and the Canadian Opera Company
  • Death in Venice gets a new life in Toronto (October 16, 2010)
  • Nixon in China: giving voice to our own history (February 13, 2011)
  • Ariadne auf Naxos from A-Z (May 14, 2011)
• 2011-2012 Opera Exchange symposia (Faculty of Music, University of Toronto)
  • A Greek family reunion: Gluck's Iphegenie en Tauride (October 1, 2011)
  • Long distant loving: Saariaho's L'amour loin/Love from afar (February 4, 2012)
  • Wilde time: Zemlinsky's A Florentine tragedy (April 22, 2012)
• 2012-2013 Opera Exchange symposia (Faculty of Music, University of Toronto)
  • Let's lighten up! : operetta in context, on Johann Strauss' Die Fledermaus (October 13, 2012)
  • Wagner and adaptation: transformations and excess, on Richard Wagner's Tristan und Isolde (January 31-Febrary 2, 2013)
  • Singing from the scaffold, on Francis Poulenc's Dialogues of the Carmelites (May 11, 2013
• 2014 Opera Exchange symposium (Munk School of Global Affairs)
  • Coming home: Handel's Hercules (April 4, 2014)
• 2014-2015 Opera Exchange symposia (Faculty of Music, University of Toronto)
  • Staging operatic comedy: Verdi's Falstaff in context (September 27, 2014)
  • Directors take the stage: debating Regietheater (January 17, 2015).