Musical compositions, correspondence, photographs, writings, clippings, and ephemera of pianist Arthur Friedheim and members of the Friedheim family.

The Austin Conradi papers contain concert programs, school essays, newspaper clippings, correspondence, scores, and a photograph relating to the life and career of pianist Austin Conradi.

Christopher Lobingier (1944-2014) was a composer based in Baltimore who wrote the original score to the 1977 John Waters film Desperate Living and participated in the Baltimore Composers Forum. This collection contains scores of original compositions by Chris Lobingier, including his score to Desperate Living, as well as materials related to the Baltimore Composers Forum, recordings, and other ephemera.

Dawn Culbertson was an eclectic musician and composer based in Baltimore who experimented with the lute and recorder. Her papers contain original manuscript compositions, personal papers primarily from her student years, and recordings of her radio show, Exploring Early Music.

Dina Koston (1929-2009) was a pianist and composer who co-founded the Theater Chamber Players in Washington, D.C. The Dina Koston papers include manuscript scores of her compositions, documents related to her performances, and audio recordings.

Donald S. Sutherland is an organist and former coordinator of the Organ Department faculty at the Peabody Conservatory. The Donald Sutherland papers, approximately 1929-2015, contain documents and musical scores related to Sutherland's career as an organist and organ instructor.

Emmanuel Wad (1862-1940) was a Danish pianist who taught at the Peabody Conservatory from 1892 to 1919. The Emmanuel Wad papers contain scores of Wad's operas and other works, an essay by Wad, and a family genealogy.

Enrico Caruso (1873-1921) was one of the most popular operatic tenors of his era. After beginning his career in his native Italy, Caruso immigrated to the United States and became a star at the Metropolitan Opera. His papers include manuscript and published scores belonging to Caruso, photographs, correspondence, scrapbooks and clippings about his career, caricatures and other artwork, recordings, and ephemera.

Franz Carl Bornschein (1879-1948) was a composer of more than 200 works, primarily vocal music, and a professor of violin and composition at the Peabody Conservatory. His papers include scrapbooks, clippings, correspondence, photographs, personal papers, manuscript and printed scores, and the personal papers of his wife, Hazel Knox Bornschein.

The Glenroy C. Stein papers contain scores and method books written by Stein and various other composers. Also included are personal papers which include newspaper clippings, correspondence, posters, and concert programs.

Howard Thatcher was a pianist, organist, composer, and teacher in the Baltimore area. He was an alumnus of Peabody who taught harmony, counterpoint, orchestration, and composition for the Peabody Conservatory. The Howard R. Thatcher papers contain his manuscript and published scores as well as personal papers.

Hugh Raymond Newsom (1891-1978) was an organist and composer who lived in Baltimore. The collection includes manuscript scores of music composed by Hugh Newsom or by his wife, harpist Marjorie Brunton Newsom; documents related to Hugh Newsom's career; and reel-to-reel recordings of his music.

Jean Eichelberger Ivey (1923-2010) was a composer, pianist, electronic musician, professor, and the founder of the Peabody Conservatory Electronic Music Studio, which she directed from 1969 until her retirement from Peabody in 1997. The Jean Eichelberger Ivey papers contain scores and recordings of Ivey's musical works, writings and notes by Ivey, personal and professional correspondence, programs and clippings, photographs, and other personal and professional papers.

John Charles Thomas (1891-1960) was a baritone who had a lengthy career as an opera singer and recording artist. His papers include scores, personal and business papers, concert programs, clippings, correspondence, ephemera, photographs, and recordings.

Joseph Schillinger was a theorist and composer famous for developing the Schillinger System, a method of deconstructing music using geometric phase relationships. The collection contains correspondence, recordings, scrapbooks, photographs, artwork, manuscript scores, and other documents related to his professional and personal life.

The Marion Rosette papers contain scores, working documents, personal papers, and recordings from Rosette’s career as a composer and arranger of children's music.

Morris Moshe Cotel (1943-2008) was a composer and pianist who was a member of the Peabody Conservatory faculty from 1972 to 2000. The Morris Moshe Cotel papers consist of letters from Cotel to his first wife, Karen Schwartzman, while Cotel was living in Rome and Israel in 1967 and 1968, as well as manuscript facsimile scores of two of his early compositions.

Nicholas Maw (1935-2009) was a British composer who taught at the Peabody Institute from 1998 to 2008. The Nicholas Maw papers (approximately 1956-2009) contain manuscripts, scores, and recordings of musical compositions by Maw, including the opera Sophie's Choice. The collection also contains correspondence, programs, reviews, lecture notes, and other personal papers.

Otto Ortmann was the director of Peabody Conservatory of Music from 1928 to 1941 and founder of the conservatory's department of research, where he conducted studies on the education, psychology, and physiology of music. His papers include scores of original compositions, writings on music research, research notes, administrative files, concert programs, photographs, and teaching materials.

Paul Vacek was a violinist, pianist, and composer (using the pen name Paul Vazkén) who studied at the Peabody Conservatory of Music from 1946 to 1949. His papers contain manuscript scores of his compositions and arrangements, drafts and fragments of manuscript scores, and personal papers.

Robert Hall Lewis was a composer who taught at the Peabody Institute from 1969 to 1980. This collection contains newspaper clippings and related publicity about Lewis, correspondence between Lewis and the Peabody Institute, two photocopies of the holograph for his String Quartet No. 4, and three musical sketches for his Symphony No. 4.