A facsimile edition containing the original collection of 1,850 melodies consisting of airs, jigs, reels, hornpipes, marches, and more for fiddle

Once regarded as Ireland’s national bard, Thomas Moore's lasting reputation rests on the ten immensely popular collections of drawing-room songs known as the Irish Melodies, published between 1808 and 1834. Moore drew on anthologies of ancient music, breathing new life into the airs and bringing them before a global audience for the very first time. Recognizing the unique beauty of the airs as well as their symbolic significance, these qualities were often interwoven into the verses providing potent political commentary along with a new cultural perspective. At home and abroad, Moore’s Melodies created a realm of influence that continued to define Irish culture for many decades to come. Notwithstanding the far-reaching appeal and success of the collections, Moore has only recently begun to receive serious attention from scholars. Una Hunt provides the first detailed study of Moore’s Irish Melodies from a combined musical and literary standpoint by drawing on a practical understanding and an unrivalled performance experience of the songs. The initial two chapters contextualize Moore and his songs through a detailed examination of their sources and style while the following chapters concentrate on the collaborative work provided by the composers Sir John Stevenson and Henry Rowley Bishop. Chapters 5 and 6 reappraise musical sources and Moore’s adaptation of these, supported and illustrated by the Table of Sources in the Appendix.

Best friend to Lord Byron; famous throughout Europe and America as a poet, composer, singer, wit, and polemicist; Thomas Moore (1779-1852) was the embodiment of Romanticism. It is said he was often moved to tears by his own songs, and so were his audiences. Servants lined up behind closed doors to hear him; women swooned, wrote him notes in verse, and treasured locks of his hair. The first in a long line of Irish poet-performers who combined personal expression with a zeal for political and social reform, Moore formed a vital link between the old Gaelic bardic tradition -- nearly extinct in his day -- and the popular songs in English that fueled the flames of nationalism in early nineteenth century Ireland.Including Moore's lyrics to accompany the songs recorded here, James Flannery's book is part biography, part music history, and part history of a nation. It presents the story of Thomas Moore in the context of the Irish nationalist movement and explains the lasting influence the songs of Moore have had on the lives of countless millions of Irish emigrants, who found in them a symbolic link with their homeland.

(Harp). 50 wonderful traditional and contemporary Irish melodies arranged by Sylvia Woods for both beginning and advanced hard players. Songs include: The Castle of Dromore * Cockles and Mussels * Danny Boy * The Gartan Mother's Lullaby * Killarney * Limerick Is Beautiful * My Wild Irish Rose * Sweet Rosie O'Grady * Warin' o' the Green * When Irish Eyes Are Smiling * Too-Ra-Loo-Ra-Loo-Ral * and more. Also includes an alphabetical index and an index of first lines. Spiral bound. Playable on both lever harps and pedal harps.

This volume explores Irish rock's relationship to the wider world of international popular music through detailed analysis of the island's most prominent artists and bands such as U2, Van Morrison, Sinéad O'Connor, The Boomtown Rats, and Horslips - and key musical movements including the beat scene and the folk revival.

400 classic Irish session tunes from the author of "A Complete to Playing Irish Traditional Music on the Whistle." A unique collection of the most popular tunes played in Ireland... and throughout the world. Complete with 400-track downloadable audio of each tune played at moderate tempo on tin whistle - over 5 hours of music! Download details on copyright page of book. These tunes are suitable for all melody instruments - tin whistle, flute, fiddle, uilleann pipes, accordion, concertina, banjo, mandolin, harp - and feature widely-played session standards as well as less common tunes. All the main tune types are represented - jigs, reels, hornpipes, slip jigs, set dances, polkas, slides, barn dances, marches, waltzes, carolan tunes, mazurkas and flings.

Focus: Irish Traditional Music is an introduction to the instrumental and vocal traditions of the Republic of Ireland and Northern Ireland, as well as Irish music in the context of the Irish diaspora. Ireland's size relative to Britain or to the mainland of Europe is small, yet its impact on musical traditions beyond its shores has been significant, from the performance of jigs and reels in pub sessions as far-flung as Japan and Cape Town, to the worldwide phenomenon of Riverdance. Focus: Irish Traditional Music interweaves dance, film, language, history, and other interdisciplinary features of Ireland and its diaspora. The accompanying CD presents both traditional and contemporary sounds of Irish music at home and abroad.

(Waltons Irish Music Books). 110 of Ireland's most beautiful and haunting melodies, including laments, airs from old Gaelic songs and Carolan tunes. Suitable for all melody instruments, but does not include guitar chords. Songs include: Carrickfergus * Death and the Sinner * Eleanor Plunkett * Brian Boru's March * Blind Mary * Black-Eyed Susan * Easter Snow * Do You Remember That Night? * Killarney * Oft in the Stilly Night * The Poor Irish Boy * Wild Geese * The Dawning of the Day * I'm Sitting by the Stile Mary * Port Gordon * Captain Sudley * Molly St. George * Nora Crionna * Sally Gardens * Planxty Hewlett * The Lambs on the Green Hills * The Young Man's Dream * The Banks of teh Suir * The Castle of Dromore * The Bells of Shandon * The Foggy Dew * Carolan's Concerto * and many more.

Contains all of Petrie's original text, including song texts in Irish and English; the melodies; and his introduction. The text is prefaced with a biographical essay, which positions the collection in the context of Petrie's life and work, and within the broader field of Irish traditional music. The piano accompaniments written by Petrie's daughter, which were included in the original collection have been removed; instead melodies have been restored back to the form in which Petrie originally notated them.