The fonds is arranged into three series: correspondence, compositions, ephemera and memorabilia. The fonds includes some of the financial records and minutes of the Brighton Philharmonic Society.

The text of the hymn begins "Did Jesus weep for human woes". The date "c1780's" has been written in pencil by an unknown hand. Research Collections has two broadsides containing hymns. One is titled "The First Hymn Sung by the Charity Children" and is dated 7 July 1713. The other one is "The Second Hymn Sung by the Charity Children" and is dated 20 Sept. 1914. The text of the broadsides does not match this manuscript.

There have been three accruals. The first accrual has been arranged into seven series as follows: music, correspondence, certificates and awards, press and promotional materials, photographs, audio discs, realia. The second accrual consists of press and promotional materials, as well as a few items of correspondence, photographs and other materials The third accrual consists of SRO Management records related to Ian Thomas and 45 audio recordings (commercial releases and masters).

The manuscript contains over one hundred Irish and Scottish songs, collected by Harry S. Higginson. The index at the front goes as high as ninety-one songs at page 98, but there are songs until page 162, suggesting approximately 150 titles. Song lyrics are by Thomas Moore, Robert Burns, Sir Walter Scott, and others. In the front of the book Higginson has also kept track of his movements.

Loose with the manuscript is a clipping for the "Connaught Foxes" (between pp. 99-100) song and two other hand written notes, one of which has the Legend of the seven churches of Glendalough written by Henry S. Wedderburn and The Bengalee Baboo.

The fonds consists of extensive photographs and textual, audio and audio visual materials. It also contains realia including trophies and honours, such a Lifetime Achievement Award from the Hamilton Music Awards and even some of Washington’s hats.

There have been three accruals. The first and principal accrual of the collection was compiled by his close friend and admirer, Frank Holliday. During the 1960s the composer agreed to allow Holliday to tape record him playing his own compositions. Their correspondence over a forty year period as well as the audio reels and cassettes are the core of this collection. The reels have been reproduced on audio cassettes for use by researchers. The number of audio cassettes listed above refers only to original cassettes.

The fonds contains correspondence, manuscripts, sound recordings and other materials in English, Japanese and German. There are also some materials relating to his father, Klaus Pringsheim, as well as research materials for a biography of Eisaku Sato. Pringsheim’s uncle was Thomas Mann and some documents relating to the Mann family also form part of this fonds.

Contains a musical score. Title page is printed.

Contains a musical score. Title page is printed.

Contains a musical score. Title page is printed.

The fonds reflects her life as both a writer, performer, and a promoter of the Jamaican language. It is arranged into the following series: correspondence; legal and financial documents; writing; published and printed materials; personal and professional documents, awards and realia; photographs and audio-visual materials; death, funeral and memorials; Eric Coverley. A separate listing describing the books which accompanied this fonds has been prepared.

The collection consists of 31 letters to Edward Sackville-West (1901-1965), mainly concerning Tippett's opera The Midsummer Marriage. There is a great deal on the production itself, music problems, and his ideas for casting the roles. Tippett's other compositions are not neglected, and there are references to his Piano Concerto, Child Of Our Time, Variations on a theme of Corellie, and The Heart's Assurance. There is much comment on the general problems of composition.

This archive consists of one letter written by Mamiya to Anne Brydon in 1980. The letter is a response to a series of Brydon's questions and outlines the personal and intellectual influences in Mamiya's music.

The archive consists of original scores, photographs, memorabilia, programs, correspondence, personal items and clippings.

Fonds consists primarily of materials documenting Scarlett’s music career, which spanned five decades. This includes contracts, travel plans for tours, performance programmes, promotional materials, photographs, recordings, sheet music, and other materials. There is also a small amount of personal materials, including correspondence, chiefly with singer-songwriter and painter Mendelson Joe, letters to the Canadian government, drafts of op-eds, and other materials.

Manuscript contains the following musical scores in several different hands:
Gluck, Christoph Willibald Ritter von,1714-1787; Rossini, Gioacchino, 1792-1868; Carafa de Colobrano, Michele Enrico, 1787-1872; Cherubini, Luigi, 1760-1842; Fioravanti, Valentino, 1764-1837.
Nella capricciosa pentita; La prima notte del matrimonio; aria del sig. Vincenzo Martini, 47 p.
Orfeo; chi mai dell'erebo e cori del Sig. Cristofaro Gluck, 45 p.
Achille; dunque andiam, più non si tardi; terzetto; con accompagnamento di pianoforte del sig. Ferdinando Paër, 49 p.
La Biondina; canzoncina veneziana; concertata con forte piano, 5 p.
Buona notte amato bene; canzoncina veneziana; concertata con forte piano, 5 p.
Nel tancredi finale; ciel che feci & musica; del Sig. Gioacchino Rossini, 27 p.
Berenice in Siria; perché'mio cor' perché? duetto con accompagnamento di piano forte; musica del cavaliere Michele Carafa, 27 p.
Che ascoltai! terzetto; del sig. L. Cherubini, 35 p.
Nell'adelaide, e comingie pittore; versa il mio sangue; scena, e duetto; con accompagnamento di piano forte; del sig. Valentino Fioravanti, 45 p.
Scena ed' aria; nella'semiramide del celebre Rossini; eseguita dal S. Galli; con forte piano, 27 p.
Bella immago degli dei; duetto; nella semiramide del sig. maestro Gioacchino Rossini, 47 p.
Terzetto nella semiramide del celebre Rossini con forte piano, 7 p.