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Fonds consists primarily of manuscript scores and parts, along with typescript copies. The fonds also contains radio scripts and cue sheets from Canadian Broadcasting Corporation (CBC) productions, for which Phil Nimmons wrote and arranged music. Scores and parts include music written for his jazz band Nimmons 'N' Nine; its expanded version Nimmons 'N' Nine Plus Six; and various other ensembles. When indicated on the scores or parts, further details about the performers of each piece are indicated in file-level descriptions.

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 the administrative records of Esprit Orchestra, from its foundation in 1983 as Esprit Contemporain, to 2021.

Records include meeting minutes and correspondence from the board of directors and associated committees; financial records, including budgets, year-end financial statements, and reports to granting agencies; performance records, including planning files from subscription and non-subscription concerts, national and international tours, and composer commissions; materials relating to the orchestra's education and outreach activities; promotional materials, including posters, photographs, programs, and reviews; records relating to recording projects, including CDs, music for films, and radio broadcasts; awards received by the orchestra and its musical director Alex Pauk; and correspondence with musicians, composers, and other associations.

Fonds consists of records created by John Beckwith during his career, predominantly relating to his compositions. Materials include sketches, drafts, final copies, texts, performance records, and related correspondence for most of his works, as well as programs, press notices, and recordings of performances.

Other materials include records relating to his activities as a radio commentator and script writer for the Canadian Broadcasting Corporation (CBC); music educator at the University of Toronto; writer of numerous lectures, articles, and books; and music critic for the Toronto Star.

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 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 arrangements by Vic Centro, and related ephemera, including photographs, correspondence, publicity materials, and recordings. Much of the material relates to Centro's time performing and recording in Toronto with Phil Nimmons and CBC radio.

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.

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.

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 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.

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 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 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.

Fonds consists of a photograph and correspondence.

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 27 pages of stamps featuring composers, musicians, musical instruments, scenes from operas and ballets, folk dances, theatres, opera houses, and music conservatories and academies. Each page of stamps was arranged by Lee Bartel.

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

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 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 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 consists of the records of the University of Toronto Opera Division, including promotional materials, production files, costume designs, and photographs.

Collection consists of fifteen opera scores from the library of Andrew MacMillan, with stage directions for the Canadian Opera Company and other productions.

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 the administrative records of New Music Concerts (NMC), from its first concert in 1972 to 2020. 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.

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.

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.

Fonds includes computer-generated scores and parts for his original works, as well as his many arrangements for violoncello ensembles of works by other composers, written 1965-2006. Many of the arrangements were done for The Yale Cellos; Aldo Parisot and The Yale Cellos; Shauna Rolston; The Banff Violas; Lee Armstrong and the Birmingham Cello Group. Many contain program notes.

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 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.

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 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 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.