RISM's database offers the most comprehensive documentation available for music manuscripts and printed music for the time between 1600 and 1800. It continues to grow through monthly updates. The RISM Online Catalog is a free resource that can be accessed from www.rism.info and opac.rism.info. It documents manuscripts, printed music, libretti, and treatises.
The online catalog contains all of series A/I, A/II, and years 1500-1550 of B/I.
It is made possible through a partnership between the Bavarian State Library (Munich), the State Library of Berlin, and RISM.
This work lists and describes all of the 400 books containing music for instruments that were published during the sixteenth century, when instrumental music was born. This bibliography covers music for virtually every sixteenth-century instrument, and every one of the usual combinations of instruments with voices: music for solo lute, guitar, vihuela, harpsicord or organ, music for voice and one accompanying instrument, and for instrumental ensembles, and treatises devoted to instrumental playing and such practices as ornamentation.
Stanley Boorman, et al. "Sources, MS." Grove Music Online. Oxford Music Online. Oxford University Press.
II. WESTERN PLAINCHANT
III. SECULAR MONOPHONY
IV. ORGANUM AND DISCANT
V. EARLY MOTET
VI. ENGLISH POLYPHONY, 1270–1400
VII. FRENCH POLYPHONY, 1300–1420
VIII. ITALIAN POLYPHONY, C1325–C1420
IX. RENAISSANCE POLYPHONY
Warwick Edwards. "Sources of instrumental ensemble music to 1630." Grove Music Online. Oxford Music Online. Oxford University Press.
This article is one of a series which discusses the principal medieval and Renaissance sources of music. It is concerned with the principal sources to 1630 of music for two or more instruments (excluding two or more keyboards, lutes and other chordal instruments) to play together without the voice. A truly comprehensive catalogue would have to include publications bearing the words ‘per cantare e sonare’ or ‘apt both for viols and voices’, and indeed virtually all vocal sources since their music could be and was played on instruments. Clearly this would defeat the central purpose of such an article, and an attempt has therefore been made to identify music originally conceived for instruments, in spite of the fact that many compositions resist this kind of categorization.
John Caldwell. "Sources of keyboard music to 1660." Grove Music Online. Oxford Music Online. Oxford University Press.
The following lists include sources up to about 1660, divided into broad geographical areas, and further divided within those areas into manuscript and printed sources arranged chronologically. The geographical divisions are somewhat unequal, section (iii) in particular covering a very wide area; but to separate even Poland from this division would have caused difficulties in connection with sources from such places as Breslau (Wrocław), Danzig (Gdańsk) or Thorn (Toruń), especially with a manuscript actually carrying a German inscription. By and large this division represents the sphere of influence of German organ tablature (old and new), though not all the sources cited make use of it, and there are some exceptional instances of letter notation outside the Germanic sphere. At the other end of the scale is the very small list of sources from the Low Countries, where it was nevertheless felt that this area had to be distinguished from the Germanic on the one hand and from the French on the other.
Arthur J. Ness and C.A. Kolczynski. "Sources of lute music." Grove Music Online. Oxford Music Online. Oxford University Press.
This is one of a group of articles that give an outline of the spread of music and the range of sources before ca. 1600. While the bulk of music throughout the period is vocal (as far as is known) and is discussed in the article SOURCES, MS, there are still some repertories that were always distinct. The sources of lute music are perhaps the clearest to distinguish for, with few exceptions, they were written in a special range of notations that did not use the staff.
Finding aid for the Atlantic Symphony Orchestra fonds. The Atlantic Symphony Orchestra (ASO) was formed on June 12, 1968. Its predecessors, the New Brunswick Symphony Orchestra and the Halifax Symphony Orchestra, were small volunteer ensembles with limited resources. The ASO declared bankruptcy in September 1983 and Symphony Nova Scotia was formed in the same year.
Ellen Ballon was a Canadian pianist that performed internationally during the early-mid 20th century. Her fonds contains correspondence, musical scores (piano and orchestral), photographs, a sketch, harmony notebooks, fliers, programs, newspaper clippings, academic journals, a press book, and letters of composers. The musical scores include several first edition copies and/or autographed copies.
John Daniel Logan was a writer and professor of poetry, literary and music criticism, and literary history. He was born in Antigonish, Nova Scotia on May 2, 1869 and died in Milwaukee, Wisconsin on January 24, 1929. Logan claimed to have taught the first university course on Canadian literature (at Acadia University in 1915) and is known for arguing with Archibald MacMechan of Dalhousie University about the teaching of Canadian literature there. Fonds contains music manuscripts and published scores, photographs, and autograph letters written by well-known composers such as Jacques Offenbach, Giuseppe Verdi, and John Philip Sousa.
Solar Audio & Recording Limited was a Halifax recording studio founded by Russ Brannon in 1975. The company recorded hundreds of musicians and musical groups and, in the 1990s, moved into post audio for film and television productions. Solar Audio was not a record label, but the studio's name was used by many artists who self-released records that were recorded and mixed at the studio. The collection contains thousands of multi-track master recordings and stereo mix recordings, many of which were used to produce commercial albums and radio advertisements.
Symphony Nova Scotia (SNS) was formed in 1983 following the demise of the Atlantic Symphony Orchestra. The majority of the records in the SNS fonds were created during the process of concert planning and promotion. Materials include artist contracts, marketing and development documents, internal memos, and correspondence with artists and sponsors.
University of the air was a distance learning initiative started by CTV's regional television affiliates, to offer degree-related video courses, taught by University professors around the country. This collection comprises four such series which were produced in atlantic Canada, and hosted by Dalhousie University Faculty. The second series, "Structures of Sound," was hosted by retired music professor Walter Kemp. Digitized videos are available on the University Archives' YouTube channel.
The UpStream Music Association (UMA) is a new music collective of performers and composers from the Halifax, Nova Scotia area. The association was inspired by a series of informal improvisation sessions in the spring of 1989 and became a non-profit charitable organization after its incorporation on April 4, 1990, shortly before the first performance of the Upstream Ensemble. Fonds contains the administrative, performance, and recording records of the Upstream Music Association; its ensemble, Upstream Ensemble or Orchestra; and its recording label, Undercurrent Recordings.