Abbott's papers reflect her family background, education and private life, as well as her research and publications on medical history. There are no materials relating to her work as a pathologist. Abbott's family background is documented by a printed history (1931) of St. Matthew's, Grenville, of which Joseph Abbott was the first rector, and glass negative views of the family home in St. Andrew's. Records of her education comprise notebooks (1886-1890) for courses at McGill in classics, philosophy, English literature, and science, her graduation photograph, and a photocopy of her address as Donalda Valedictorian in 1890. Private records include diaries (1930-1940), a commonplace-book (1929-1938), and a bundle of notes, clippings, poems, letters and invitations. Three versions of her autobiography survive: the finished "Autobiographical sketch" of 1928 (photocopy), part of an undated autobiography, and a brief autobiographical note. Records of Abbott's historical research and publications include extensive notes on the history of medicine in Québec as well as papers relating to the publication of her History. Other files contain notes on the admission of women to McGill and other universities, the establishment of the Medical Museum, the amalgamation of the medical faculties of Bishop's and McGill with some administrative records of the medical faculty. Dr. Abbott's professional correspondence is represented only by a file on the Federation of Canadian Medical Women, 1938.

Fonds mainly consists of research materials and preliminary drafts for Miller's history of the McGill Faculty Club. These include transcripts from the Club's Council minutes, the McGill University scrapbooks and the minutes of the University Club, as well as originals and copies of contributions by John Bland (on the architecture of the building), T.H. Matthews (on the admission of women) and F.R. Scott (on the social atmosphere). As well as Miller's typescript of the history, there are drafts of his outgoing letters to contributors and colleagues, some incoming letters and copies of Club Council meetings dealing with the history. There is also correspondence arising from Miller's chairmanship of local arrangements for the annual meeting of the Canadian Historical Association in 1972.

Fonds consists of private correspondence related to Clarke’s professional work, a few musical manuscripts and texts of addresses, and a large body of personal financial accounts. His correspondence falls into two series. The general correspondence discusses arrangements for concerts in England and Canada, compositions (his own and others), the problems of musical life in Montréal, and private matters such as travel arrangements and club memberships. Much of the correspondence concerns the social aspects of music and of Clarke's position: patronage of musical events, organization of celebrations for the Jubilee of 1935 and the Coronation in 1937, and complementary tickets to concerts. Amongst his correspondents are a number of musicians and composers, including Sir Ernest MacMillan and Healey Willan. A very small percentage of this material concerns university business. A second series consists of invitations to address or attend meetings, with related correspondence. Both series cover the years 1929-1952.

Over half of the papers consist of personal financial accounts (1929-1953) for Clarke's insurance, taxes, apartment rental, various domestic expenses (e.g. groceries), telegrams, travel, and transportation.

There are two undated addresses: one on Christmas and the second on musical education. There are also two music sketchbooks from around 1920. Pictorial material comprises two photographs (approximately 1923, 1954) and a pencil sketch (1933).

Fonds consists mainly of Perrin's typescript lectures (1922-approximately 1929). Some of the lectures are in series, and were probably used in teaching university courses. Some consist of introductory or graduation addresses to music students. Predominant topics include music education, music in Canada, national musical styles, formal and genre developments, aesthetics, and the work of individual composers. Perrin's correspondence comprises a general file (1912-1949) concerning faculty matters, concerts, publications, and personal affairs, a file regarding concert and speaking engagements (1911-1929), and a few letters about the publication of Perrin's Canadian Song Book (1918). Some essays and answers to examination questions stem from Perrin's student years.