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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 manuscript lead sheets, parts, and scores created and used by Gary Williamson. It consists of original compositions by Williamson and his arrangements of jazz standards. Most of the arrangements are not dated.

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

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.

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).

Collection consists of promotional materials created and collected by the Faculty of Music, including newsletters, photographs, student publications, and other reference materials that reflect the activities of the faculty, staff, and students.

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.

Collection consists of records from early conventions of the Ontario Music Teachers' Association (OMTA), primarily from the first convention, held at the Royal York Hotel in Toronto (October 6-8, 1936). Papers include programs (1936-1944); correspondence; meeting minutes; lists of registrants; scripts for speeches, including an address by Sir Ernest MacMillan at the first convention; drafts of the OMTA constitution; and proceedings (1936, 1937).

Collection consists of predominantly violin parts with Jacques Israelievitch's bowings, fingerings, and other annotations; correspondence with composers; various programs from his performances ; and select reviews and newspaper clippings.

Collection contains correspondence, copies of sources, notes, illustrations, photographs, microfilms, and other working papers for Ezra Schabas's book Theodore Thomas : America's conductor and builder of orchestras, 1835-1905 (University of Indiana Press, 1989). The collection also contains articles and lecture notes for presentations written by Schabas about Thomas.

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 unpublished and manuscript scores and parts of arrangements and transcriptions by Frank Harmantas, created for the University of Toronto Trombone Choir. Collection also includes two manuscript arrangements by a student member of the trombone choir, John Wilson.

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.

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.

Collection consists of correspondence between the Music Library and various individuals, including students, staff, faculty, librarians, and other researchers; photographs of the library space and collections; materials pertaining to special projects at the library; and memorabilia collected over the years.

Fonds consists of records pertaining to the two-piano, four-hands duo of Harry and Ida "Claudette" Culley, the "The Black and White Spotters". Records include annotated sheet music and manuscript parts copied by Harry Culley for performance; newspaper articles and press releases; posters; programs; photographs; and correspondence.

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 of jazz standards and show tunes arranged by or performed by Trudy Desmond. The majority of arrangements are for voice and rhythm (piano, guitar, bass, and/or drums). Some arrangements also include trumpet, trombone, saxophone, vibraphone, or string quartet. Collection includes manuscript parts and copies of parts annotated by the performers. Most charts do not indicate the arranger, performer, composer, lyricist, or date of arrangement.

Collection consists of glass lantern plates of musicians, cathedrals, opera houses, theatres, instruments, opera productions, and musical notations, likely created for use in Arnold Walter's lectures and classes. The slides include reproductions of paintings, caricatures, photographs, manuscripts, and copies of images from contemporary monographs. Some of the slides were manufactured by Newton & Co., London.

Fonds consists of the compositions, recordings, and papers of Derek Holman, a former professor at the Faculty of Music, University of Toronto. The fonds contains manuscript scores and parts by Derek Holman, including original compositions, arrangements and realizations, juvenilia, and sketch materials; audio and video recordings of Holman’s compositions and performances; papers and photographs from Holman’s work with various choirs and churches (including at the University of London, University of Toronto, University of Trinity College, Bishop-Strachan, Royal School of Church Music, St. Simon’s, Concord Singers, Croydon Bach Society, Grace Church-on-the-Hill, and the Canadian Children’s Opera Company); and, Holman’s personal papers, including awards, certificates, degrees, and notebooks.

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 consists of the personal and professional papers of Elizabeth Benson Guy, including correspondence, photographs, programs, reviews, press notices, and manuscripts copied by or for Benson Guy.

Fonds consists of Emmy Heim's lecture notes for the Toronto Conservatory of Music (TCM) and Royal Conservatory of Music in Toronto (RCMT), correspondence, programs, posters, and a photograph. Fonds also includes manuscripts of songs written for, or copied by, Emmy Heim.

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

Fonds consists of sketches, drafts, and texts for Udo Kasemets’s compositions, including scores prior to 1960 that use conventional media, and those after 1960, which consists of multi-purpose scores, combination scores, and theatre pieces. The fonds also contains programs and press notices for performances by Udo Kasemets and of his works; correspondence with many American avant-garde musicians; and Kasemets’s projects and notes from his time teaching at the Ontario College of Art.

Fonds consists of sheet music used by Edith McConica when she accompanied silent films in Luseland, Saskatchewan in the 1920s, as well as some pedagogical sheet music used when she was learning piano from Leora Kridler (Mrs. Milton Herrold) in her home town of Findlay, Ohio, and teaching her children piano in Luseland.

Fonds consists of manuscript scores, compositional sketches, correspondence, programs, and teaching materials, related to Kenins's career as a composer and professor at the Faculty of Music, University of Toronto.

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

Collection consists of repertoire and technique grade books and syllabi issued by the Royal Conservatory of Music (RCM), previously the Toronto Conservatory of Music (TCM). Various editions are included for guitar, violin, piano, voice, and theory examinations.

Fonds consists of manuscript music; radio music and children's pieces; correspondence with the Canadian Broadcasting Corporation (CBC), Canadian Music Centre (CMC), Canada Council, Ontario Arts Council, performers, representatives of performing organizations, friends, colleagues, friends, colleagues, students; press notices and reviews; programs; Polish community activities; notebooks and journals.

Collection consists of volumes of music instructional material, predominantly for piano instruction. The collection includes some ear training, theory, and sight reading material as well. Items published in Canada and internationally are included.

Fonds consists of the professional and personal records of composer Michael Colgrass. The collection includes manuscripts of his compositions; administrative and financial documents relating to commissions with orchestras, performers, and publishers; and materials generated from the performance of these compositions (including recordings, programs, reviews, and program notes). Other records relate to workshops that Colgrass led, particularly his Neuro Linguistic Programming (NLP) workshops and Colgrass' writings, including poetry, articles, manuscripts and notes for his books, and correspondence with friends and colleagues.

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.

This collection contains an indexing of selected unpublished materials related to the music theorist and philosopher Viktor Zuckerkandl (1896–1965). Included are descriptions of digitized correspondence, manuscripts, and miscellanea. The three archives that hold the physical media are cross referenced (ONB, Eranos, St. John’s).

Collection consists of approximately 6,500 78 rpm records, and the personal papers of one of its collectors, John Stratton. Stratton's personal papers provide contextual information about one of the collectors of the "Stratton-Clarke Collection," and primary source material relating to his research of historical vocal recordings and recording practices.

The 78 rpm record collection spans nearly the entire history of 78 rpm record production, from acoustic recordings to early electronic recordings and beyond, covering the first half of the twentieth century. The recordings are primarily pressed on shellac discs, ranging from 7 to 14 inches on diameter, and capture performances of approximately 1,000 vocalists, performing the works of more than 900 different composers on at least 100 different labels. The collection was loosely built on four of Stratton's main interests regarding historical vocal recordings: the "Golden age of singing" (pre World War One); the Mapleson recordings (live Metropolitan Opera performances captured on wax cylinders by Lionel Mapleson between 1900 and 1904); Canadian performers; and pre-revolutionary Russian recordings (pre-1917). The collection includes unpublished and test pressings, as well as published materials.

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 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 consists of records that pertain to the career of Canadian conductor Victor Feldbrill, including his conductor's scores for Canadian compositions (many of which he premiered), including his annotations and corrections, and composers' autographs. Fonds also includes audio recordings of performances that Feldbrill conducted, including many premiere performances of Canadian compositions, spanning Feldbrill's entire career conducting various orchestras in Canada and abroad.

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.

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.

Fonds consists of material relating to Kathleen Parlow's personal life and her musical career, including photographs, correspondence, daybooks, sheet music, concert programs, press, and personal material.

Collection includes correspondence, notes, transcripts, and other working papers for Ezra Schabas's book Sir Ernest MacMillan: the importance of being Canadian, published by the University of Toronto Press in 1994.

Collection consists of 10 scrapbooks created by the Hart House String Quartet and their business manager, Milton Blackstone, which contain programs and newspaper clippings of reviews and press releases for their concerts. Two volumes (Volume 5, 1929-1931; and, Volume 7, 1932-1934) are missing from the collection. The collection also contains two scrapbooks for the Canadian Concert Association, during the time that Milton Blackstone was the director (1933-1935 and 1936), and a small collection of annotated scores and parts for violin and piano, previously owned and annotated by Geza De Kresz.

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 the personal and professional records of Gustav Ciamaga, including correspondence with Hugh Le Caine, lecture notes, programs, and audio recordings created in the University of Toronto Electronic Music Studio (UTEMS).

Fonds consists of the administrative records of New Music Concerts (NMC), from its first concert in 1972 to 1998. Records consist of administrative and financial records, including correspondence with composers, performers, and concert venues, budgets, grant applications, and board meeting minutes; concert planning documents, including touring records; and promotion and publicity documents, including programs, brochures, posters, reviews, advertisements, and press releases. The fonds also includes select audio and video recordings of NMC concerts.

Collection consists of set and costume designs by Nicola Benois for the following Teatro alla Scala productions: the premiere production of La Fiamma (The Flame) by Ottorino Respighi; Respighi's ballet Gli Uccelli; and Madama Butterfly by Giacomo Puccini.