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4 - The Genesis of Thomas Moore’s Irish Melodies, 1808–1834

from Part 1 - Production, Function and Commerce

Published online by Cambridge University Press:  07 April 2017

By
Sarah McCleave
Edited by
Paul Watt ,
Derek B. Scott  and
Patrick Spedding
Paul Watt
Affiliation:
Monash University, Victoria
Derek B. Scott
Affiliation:
University of Leeds
Patrick Spedding
Affiliation:
Monash University, Victoria
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Type
Chapter
Information
Cheap Print and Popular Song in the Nineteenth Century
A Cultural History of the Songster
 , pp. 47 - 70
Publisher: Cambridge University Press
Print publication year: 2017

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References

References

Bunting, Edward. A General Collection of the ancient Irish Music: containing a variety of admired airs never before published, and also the compositions of Conolan and Carolan, collected from the harpers &c. in the different provinces of Ireland, and adapted for the piano-forte, with a prefatory introduction by Edward Bunting. London: Preston & Son, 1796; facsimile edition Belfast: Linen Hall Library, 1996.Google Scholar
Hunt, Úna. “Moore, Stevenson, Bishop and the Powers – a series of complex relationships”. In Caraher, Brian and McCleave, Sarah (eds.). Thomas Moore and Romantic Inspiration. London: Routledge, 2017.Google Scholar
Dowden, Wilfred, S. (ed.). The Letters of Thomas Moore, 2 vols. London: Clarendon, 1964.Google Scholar
Gault, Gina. ‘An Analytical Catalogue of Thomas Moore’s Irish Melodies, Number Four’. MA dissertation, Queen’s University Belfast, 2008.Google Scholar
Glover, J.W. (ed.). Irish Melodies: with symphonies and accompaniments, by John Stevenson, and characteristic words by Thomas Moore. New Edition. Dublin: James Duffy, 1859.Google Scholar
Humphries, Charles and Smith, William. Music publishing in the British isles from the earliest times to the middle of the nineteenth century: A Dictionary of engravers, printers, publishers and music sellers, with a historical introduction. London: Cassell, 1954.Google Scholar
Hunt, Úna. Sources and Style in Thomas Moore’s Irish Melodies. London: Routledge, 2016.Google Scholar
Mitchell, Carolyn. ‘An Analytical Catalogue of Irish Melodies Number Two’. MA project, Queen’s University Belfast, 2008.Google Scholar
Vail, Jeffrey Vail (ed.). The Unpublished Letters of Thomas Moore, 2 vols. London: Pickering & Chatto, 2013.Google Scholar

Archives

The Gibson-Massie Moore Collection (c. 966 volumes) of monographs and sheet music was largely assembled by the Belfast collector, Andrew Gibson (fl. 1904–1927) during the late nineteenth and early twentieth centuries. Since its acquisition in 1960, Queen’s has continued to supplement this collection of early and posthumous editions of Moore’s work, which represents the breadth and diversity of his output. Particular strengths are the variant issues and editions of Moore’s Irish Melodies and his Lalla Rookh, some bound in fine and ornate bindings, while still others are decorated by prominent illustrators. Two online exhibitions at the McClay library’s Special Collections complement the present study: ‘Thomas Moore and the Printer’s Devils’; ‘Thomas Moore Music Project’ at cdm15979.contentdm.oclc.org/cdm/landingpage/collection/p15979coll12. Queen’s Special Collections also holds the Bunting Collection (c. 250 items), which comprises the manuscripts (music and text), notebooks and photographs associated with Edward Bunting (1773–1843) and the Belfast Harpers Festival of 1792. For digital material related to this collection, as well as the Irish Song project, see digital-library.qub.ac.uk (this is an alternative route to the two Moore exhibits).

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