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File consists of an annotated score, which includes additional typescript dialogue for a production by the Canadian Opera Company (COC). Carlos Alexander directed the first production of Beethoven's Fidelio in Toronto in 1970 with conductor Heinrich Bender. The production featured Anja Silja, soprano as Leonore and Glade Peterson, tenor as Florestan. Herman Geiger-Torel was general director of the COC at the time.

Fonds consists of records documenting the professional and personal life of analytic philosopher and professor, Ian Hacking. Records primarily focus on the academic and publishing activity of Hacking from the early 1980s to 2010. The material reflects the broad and diverse interests of Hacking in his work, as well as his exchange with scholars in diverse fields. Records include correspondence, manuscripts and drafts of written works, reprints, lecture notes, and extensive subject files. Additionally, correspondence, press clippings, and photographs chronicle Hacking’s professional and academic achievements.

Fonds also documents aspects of Hacking’s personal and family life. These include his diaries and notebooks, birth and marriage certificates, drawings by his children, family snapshots, as well as correspondence, photographs, and copies of records from the Hacking and MacDougall families.

See series and subseries descriptions for additional information.

Fonds consists of correspondence, subject files, course material, research records, and conference and publication files documenting the life and career of Prof. Roxana Ng, professor at OISE and community activist. Fonds also includes administrative material from OISE, in particular from AECP (Adult Education and Counselling Psychology) Department, the AECD (Adult Education and Community Development Program), CIARS (Centre for Integrative Anti-Racism Studies), and the CWSE (Centre for Women’s Studies in Education).

Fonds also includes records relating to Prof. Ng’s involvement in various community groups, NGOs and grassroots organizations, including the Apparel Textile Action Committee (ATAC), CERIS (The Ontario Metropolis Centre), the Canadian Research Institute for the Advancement of Women (CRIAW), The International Ladies' Garment Workers' Union (ILGWU), INTERCEDE (International center to End Domestic Exploitation), Inter Pares, The Jade Garden Adjustment Committee, the National Organization of Immigrant and Visible Minority Women of Canada (NOICMWC), UNITE (the Union of Needletrades, Industrial and Textile Employees), Women Working with Immigrant Women (WWIW), and the Homeworkers Association (HWA)

Series consists of textual records and graphic material documenting Ian Hacking’s personal life and career, with eight files related to the histories of both the Hacking and MacDougall families. Records include a passport, birth and marriage certificates, family snapshots, drawings by his children, as well as correspondence detailing financial contributions made to various charities and initiatives. Hacking’s professional and academic activity is reflected in written and photographic documentation of awards and honours received, including the Killam Prize for the Humanities, the Companion to the Order of Canada, and the Holberg International Memorial Prize. Also included in the series is an autobiographical document written by Hacking detailing the orientation of his research.

Digital files consist of files documenting his personal life and family [“BUSYNESS”], a folder of biographical information and curriculum vitae, further documentation about the Holberg Prize, and drafts of writings by Judith Baker titled “Trust and Commitment” and “Some Aspects of Reasons and Rationality”.

Fonds consists of records, 1946–2009, consisting of six series relating to Johnston’s academic life and research, including those relating to her education, 1946–1961; professional life, 1957–2009;Records relating to the church, theatre and other activities, 1965–2003; teaching records, 1959–2008; scholarships and publications, 1971–2009. and photographs, [1961?]–2002.

Fonds consists of records created between 1946–2009, consisting of six series relating to Johnston’s academic life and research, including: Education, 1946–1961; Professional life, 1957–2009; Records relating to the church, theatre and other activities, 1965–2003; Teaching records, 1959–2008; Scholarships and publications, 1971–2009; and photographs, [1961?]–2002.

Fonds consists primarily of manuscript scores and parts for music written, arranged, and orchestrated by Phil Nimmons. Materials also include annotated scripts for incidental music that Nimmons wrote for various Canadian Broadcasting Corporation (CBC) radio and television productions. Fonds includes scores and parts for two ensembles that Nimmons led, Nimmons 'N' Nine, and its expanded version Nimmons 'N' Nine Plus Six, as well as various other ensembles.

Series consists of compositions and arrangements by Phil Nimmons, written early in his career before he formed his own group in 1953. Series includes charts for the Ray Norris Quintette, of which Nimmons was a member.

Series consists of music written or arranged by Phil Nimmons for ensembles, including the 1957 overtures for the "Music for a Summer Day" festival at Stratford Festival and music for the duo Pendulum, the Kitchener-Waterloo Symphony, the Ted Kemar Band, the Vancouver Symphony Orchestra, Music at Sharon, and Esprit Orchestra.

Series consists of music written and arranged for Nimmons 'N' Nine Plus Six. This expanded version of Nimmons 'N' Nine was formed in 1965, reorganized in 1974, and disbanded in the early 1980s. Most of the music was written by Phil Nimmons with a few contributions from other members of the ensemble.

Series consists of music composed or arranged for "The Group," later named "Nimmons 'N' Nine." Most of the charts are written by Phil Nimmons, with a few contributions from other members of the ensemble. Nimmons formed this group in 1953 and they performed regularly on CBC radio. They made their concert debut in 1956 at the Summer Festival in Stratford. In 1965, the ensemble expanded to "Nimmons 'N' Nine Plus Six."

Series consists of incidental music for orchestra and music for jazz ensemble that Phil Nimmons composed, arranged, and orchestrated for various radio and television programs, predominantly for the Canadian Broadcasting Corporation (CBC).

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

File contains core and parts, arranged by Rick Wilkins for Nimmons 'N' Nine Plus Six and vocalist Tommy Ambrose. File also includes manuscript parts for "Hard-Hearted Hannah."

File contains score and parts, arranged by Rick Wilkins for Nimmons 'N' Nine Plus Six and vocalist Tommy Ambrose.

File contains score and parts, arranged by Rick Wilkins for Nimmons 'N' Nine Plus Six and vocalist Tommy Ambrose.

File contains score and parts, arranged by Rick Wilkins for Nimmons 'N' Nine Plus Six and vocalist Tommy Ambrose.

Contains materials generated and collected in the course of business by the Toronto Anti-Draft Programme (TADP), 1964-1977. Includes individual case files, intake and housing records, sales records for the Manual for Draft-Age Immigrants to Canada, counseling materials, lobbying and public relations files, materials from other activist, religious and anti-war groups, TADP administrative records, and a collection of printed items.

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).

Fonds consists of newsletters and ephemera produced by the Toronto Wagner Society.

Collection consists of incoming and outgoing correspondence with Dr. Ates Tanin about recordings of pianists Sviatoslav Richter (1915-1997) and Emil Gilels (1916-1985). Tanin was a collector of piano recordings, with a focus on Richter and Gilels, and maintained a website discography of all known recordings of Richter, "Recorded Richter." Tanin also collaborated with Doremi (Willowdale, Ontario) to commercially release several recordings of Richter's live performances.

Collection includes incoming and outgoing correspondence with John Berrie and Falk Schwartz, administrators of the Friends of Sviatoslav Richter, and Dejan Sinadinovic, a member of the Friends of Sviatoslav Richter.

Fonds consists of programs from his performances, a letter confirming his appointment to the Royal Conservatory of Music (RCM) in Toronto, a newspaper clipping, and his annotated copy of the Canadian Music Centre sheet music for Six Miniatures after Hokusai for violin and piano by Elliot Weisgarber (1972). The fonds also includes two catalogues for his personal music library: one current to 1976, and another current to 1997.

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 recordings and programs of performances by by faculty members, students, student ensembles, and guest artists, at one of the Faculty of Music theatres (Walter Hall and MacMillan Theatre), and at other University venues.

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.

Fonds consists of material relating to the meetings of Conservatory Chamber Music Club. Includes one minute book 1937-1941, including descriptions of programs and list of members.