Irish folksong elements in American popular music: 1860-1900

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IRISH FOLKSONG- ELEMENTS IN AMERICAN POPULAR MUSIC, 1860-1900

A Thesis Presented to the Faculty of the School of Music The University of Southern California

In Partial Fulfillment pf the Requirements for the Degree Master of Arts]

by Clayton LeRoy Cowan June 1950

UMI Number: EP61852

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This thesis, written by

.............. .C.la^.±jDJl..i.fl.?Qy...CD.waJl................... under the guidance of h±3.... Fac u lty Com m ittee, and approved by a ll its members, has been presented to and accepted by the C ouncil on G raduate Study and Research in p a rtia l f u lf ill­ ment of the requirements fo r the degree of

................... M ajs..tar....D .f...Aj!.tJs...........................

Faculty Committee

TABLE OF CONTENTS CHAPTER I.

PAGE

I N T R O D U C T I O N .................................

1

The p r o b l e m .................................

1

Statement of the problem

................

Importance of the s t u d y .............. Definition of terms u s e d .................. Elements

.................................

Irish folk music

.

.....................

3 3 3 3*

Popular music .............................

4

F o l k s o n g ..............

4

The sources of m a t e r i a l .................... II.

1

THE BEGINNINGS OF IRISH MUSIC

4 5

Leaders in folksong research

............

5

The bardic system .........................

6

Ancient manuscripts .......................

8

Influence on Welsh music

9

................

English music . . .........................

10

Ogham s t o n e s ......................

10

Old Irish s c a l e s .........................

11

H a r m o n y ...................................

13

F o l k s o n g .................................

13

Examples of folk m u s i c ..................

16

lv CHAPTER III.

IV.

PAGE

IRISH MUSIC AND WORLD I N F L U E N C E S ..........

25

Anglo-Irish relationships ................

28

Persecutions of musicians . . . . . . . . .

29

Popular elements in ancient folksongs . . .

31

SOME TYPES OF IRISH M U S I C ...................

37

Handel

. . ............................ . .

37

Arrangements by Haydnand Beethoven . . . .

38

Patrick Joyce collections

....

39

Harp references...........................

40

... Patriotic s o n g s ...........................

41

Lilli-Burlero . . . . . Henry Purcell

...................

43

.......................

44

V a r i a t i o n s ..............

45

Thomas Moore relations with George Thomson .

V.

.............................

47

First issues of Irish m e l o d i e s ..........

48

Styleizations by Moore

49

...................

IRISH IN A M E R I C A ........................ . .

64

Irishmen in American history

............

64

Yankee Doodle history . . . .

............

65

I m p o r t a n c e .............................

65

First period of Irish immigration........

66

Differences in the two periods of Irish immigration.......................

68

V

CHAPTER

VI.

PAGE Early songs . . v .........................

68

First stage e l e m e n t s .....................

69

Economic conditions .......................

70

Raci&l difficulties .......................

78

Economic influences .......................

73

IRISH MUSIC ON THE AMERICAN

S T A G E .........

81

The ballad s i n g e r .........................

81

Beginnings of the minstrel

82

Negro minstrel songs

s h o w ..........

. . . .......

84

The stage I r i s h m a n .............. Harrigan and Hart —

85

economic and po­

litical overtones . . . ................

86

Decline of the minstrel

87

s h o w s .........

Songsfrom Harrigan and Hart shows

... .

Social importance . * ...........

89

The new “Irish" come on thescene. . . . . VII.

S U M M A R Y .......... The "pop" tune

88

90 104

..............

104

Tin Pan A l l e y .............................

105

S u m m a r y ...................................

106

B I B L I O G R A P H Y .....................................

108

A P P E N D I X .........................................

114

CHAPTER I INTRODUCTION The purpose of this thesis is to show the relationship between the Irish folk song and the popular music of America during the years 1860-1900*

More particularly,

the writer

will attempt to show parallels in the structure, mode, and philosophy of the two types in light of the emphasis each had on its respective society* I*

THE PROBLEM

Statement of the problem*

The reason for this study

might be best explained by relating an experience of the writer in the summer of 1948*

While travelling in Ireland,

he spent a few days in Athlone, a small city of some ten thousand people, situated in the center of the island nation* It is a town with a rich and varied history.

The fact that

the town is the birthplace of the noted tenor, John McCormack, led the writer to inquire about the musical history of the area. of music.

This in turn brought up a discussion

The writer was amazed to learn that very few of

the townspeople were familiar with the tunes which Americans often associate with Ireland, such as "Mother Machree," "My Wild Irish Rose," "When Irish Eyes Are Smilin* ,H "Did Your Mother Come From Ireland"? etc.

Furthermore, the

2 tunes which were sung to the writer did not have much resemblance to this type* This has led to the general conclusion that Irish music and American-Irish music are two separate entities. The true Irish music had its beginnings in the folk times of the foggy isle which date from ancient times.

By the

same token, the “Mother Machreeisms*1 in our popular music literature stem from the time of the great Irish immigra­ tions to this country which began in the middle of the last century. The period chosen for this study, 1860-1900, is not an arbitrary one.

It was during this time that Irish music

became a part of American life-

Paralleling this growth

was the rise in the stature of the Irish as Americans and an integral part of American life.

After the turn of the

century, the Irishman fast became what he is known today — proud of his ancestry and his nationality. Further study has shown that there are many en­ largements and facets of this overall picture.

Therefore,

in order to cover this one aspect as thoroughly as possible, the following features are to be discussed: (1) a general background of Irish secular music, and its relationship to the people; (2) music examples which elaborate on the material being discussed;

3 (3) points of political, social, and religious significance which relate to music; and (4) the American-Irish aspect. Importance of the study*

The reader should under­

stand that the primary purpose of the thesis is to show the emotional rather than the melodic relationships of the music.

The musical examples referred to are illustrated

(with some analyses) at the end of their respective chapters and are indicated by the Roman numerals following the title.

Other examples are given in the Appendix.

The

writer is not attempting to draw parallels any more than to differentiate.

It is the hope of the writer that the

"Irish Myth" may be deflated somewhat by this investigation. II. Elements.

DEFINITION OF TERMS USED The term elements as used in this thesis

refers in the general sense to relative factors in music such as melody, form, text, adaptations, mode, and rhythm — viewed not only musically, but from the standpoint of effect on the listener. Irish folk music.

Irish folk music is that music

which comes from the people of Ireland.

Our concern is

notwhether the music was composed or evolved, it had any effect

but whether

on the people in their daily lives and

to what end this effect carried them Popular music *

Popular music as applied to America

in 1860-1900, refers mainly to that of the stage, since during this period, the stage was the medium for populariz ing songs of this nature. Folksong*

Folksong is song which has been created

and evolved by the common people. III.

THE SOURCES OF MATERIAL

Sources used in this study were the Doheny Library, The University of Southern California, Los Angeles, Cali­ fornia; Los Angeles Public Library; Omaha Public Library, Omaha, Nebraska; The Orosvenor Library, Buffalo, New York; and the Library Research Service, Encyclopaedia Britannica Chicago, Illinois. The reader should consider the thesis as a whole, with no chronological or epochal implications.

When

reading one section, he should remember that there is a connection with all the other sections*

CHAPTER II THE BEGINNINGS OF IRISH MUSIC In tracing the history of Irish music and in particu­ lar those aspects which are definitive and have an absolute relationship to the ‘♦popular1* element, the writer has had to consult many sources and from these draw some tangible conclusions.

Although much has been written about Irish

music, the phase covered in this thesis has not been in a major consideration.

The best explanation which can be

offered is that very few books were written for the scholar or research specialist. Leaders in folksong research.

The leaders of the

Irish folksong revival were Bunting, Walker, Hardiman, Petrie, Beauford, Drummond, 0*Curry and Conran.^

These

men were concerned with assimilating information on Irish folksong while others, including Flood, Mason, 0*Neill, and Joyce, were busy copying down the melodies and coating them with a liberal Hibernian salve* Eugene 0 1Curry (1796-1862) is a notable exception to this grouping.

Flood2 says “All Irish students must be

1 For publications, see Appendix A. 2 William H. Gratton Flood, A History of Irish Music, (Dublin: Browne and Nolan, Ltd., 191)5), p. viii.

6 forever grateful to 0*Curry for having gathered together what has well been described as a *niind of information* in his Lectures on the Manners and Customs of the Ancient Irish.3

0*Curry was, in contradistinction to the other

writers, more concerned with the literary aspect of Celticism,. The bardic system.

It was this source which Reese

consulted when he wrote, concerning Irish music, in his Music in the Middle Ages,^ Literary references show that from very early times music occupied a position of great importance in Celtic life and was practiced by a highly trained bardic profession. These bards did not record their compositions in writing, Reese continues, because they did not wish to Hdisseminate their craft too widely among the vulgar or to encourage their students to rely on the written record instead of the memory.“ The study of the ancient bardic system in Ireland is a separate thesis in itself but it is important that the reader have in mind a general picture of the position of

3 Eugene 0* Curry, On the Manners and Customs of the Ancient Irish (London: Williams and Norgate, 1873). 4 Gustav Reese, Music in the Middle Ages (New York: W. W. Norton and Company, 19407, p. 33d. 5 Ibid., p. 391.

7 the bards and, in that way, begin to realize how much music has been an intregal part of Irish life down through the centuries.

In ancient Ireland the systems of law, medicine,

and poetry, were set to music, being poetical compositions; and the bards and minstrels were highly regarded and treated with great respect and reverence. The Celts had established, nearly a thousand years before the Birth of Christ, a distinct order of priesthood whose principle duties lay in invoking the unknown deities to grant them victory in battle, make divinations Mby a study of the stars, clouds, wind, smoke, the flights of birds, — • sacrifices, human and otherwise.11^ The mystical aspect of the ceremonies of the Druids, as they were called, is still seen in the celebrations of All-Hallowmas, May-day, and Midsummer Eve bonfires and hint at the grim ritual of pre-Christian days.

Plutarch

records a vile use to which music was put when he states that the cries of the victims in the human sacrifices of the Druids were drowned by the sound of songs and musical instruments.^ As the Teutons invaded England, the Druids were driven to North Wales, North Scotland, and Ireland.

Long

® Edmondstone Duncan, The Story of Minstrelsy (Londons The Walter Scott Publishing Cfompany, 1907), p. 4. ^

» P*

after the name of the order perished, the practices survived, particularly in Ireland, where they lasted until the fifth Q

century when St. Patrick put an end to them. Ancient manuscripts.

There is in the British Museum

an ancient manuscript which is supposed to have come down from the time of the Druids.

An eighteenth century owner

of the MSS, William Morris, believed he had the music of the Ancient Welsh as codified under Gruffyd ap Cynan, who had grown up in exile in Ireland, about3100 A.D.

Going even

further in claiming antiquity for the MSS, Arnold Dolmetsoh wrote that the music originated no later than the eighth century.^ There is in existance one brief example of music written down in the twelfth century, though probably older; and preserved in a MSS from a Celtic portion of Britain. It is a two-part setting of Ut tuo propitiatus, (see I at end of chapter), the verse to the response Sancte dei pretiose —

inscribed in the Cornish MSS Bodley 5 7 2 . ^

Flood says this was written by an Irish scribe about the year 1095. This composition is pentatonic in character which

^ koo> cit. ® Reese, op. cit., p. 391. ^

Flood, egg. cit., p. 43.

9 (judging from the traditional Celtic music recorded in the eighteenth and nineteenth centuries) would associate it more with Irish and Scottish music than Welsh.

Dr. Oscar Fleischer,

in the Vlerteljahrschrift fur Muslkwlssenschaft, 1890, con­ sidered it 11really an adaptation or setting of a gaelic folksong, afterwards worked on by a learned composer of that period.“H Influence on Welsh music.

Welsh music seems to have

been influenced by Irish music at an early period, and F l o o d ^ comments, In consequence of the constant intercourse between Ireland and Wales from the third to the eleventh century, Irish immigrants introduced Celtic minstrelsy. . . . Numerous entries in the Irish Annals, from 950 to 1095, testify to the exodus of Irish Harpers to Wales, culminating in the celebrated Eisteddfod of Caerways, in 1100, which became that model on which the subsequent Welsh festivals were based. However, there were differences in the music of the two nations even at this early date.

Giraldus Gambrensis

(Gerald Berry, Archdeacon of St. Davids, and a noted traveller of the time), after making a trip through Ireland in 1185, wrote in his Topographlca Hlbernica that one thing

H P. W. Joyce, Old Irish Folk Music and Songs (Dub­ lin: Hodger, Figgis, and Company, £td., 1303], p. xv. 12 Reese, pp. cit., p. 392. 13 Flood, op. cit., p. 48.

10 which had particularly impressed him was the rapidity of movement in the Irish music as compared to the Welsh.14 Scottish music was also affected by Ireland and her musi­ cians.

Giraldus wrote in the same work that “In the

opinion of many, Scotland has not only equalled Ireland, her teacher in music, but has ♦ . . surpassed her.“16 English music.

In relation to England, at this

time, Davey makes the rather piquant observation that: The Kelts (sic) all have a decided gift for music and poetry, and even in the earliest times were celebrated for it; the English are usually much less gifted, but when they possess the gift, they can cultivate it to a much higher point than any Kent ever can. Ogham stones.

William H. Grattan Flood shows in

his works the results of twenty-six years of research in that he can rightfully claim a musical tablature on many of the 349 Ogham stones which had been discovered at the time of his writing (1904).

The word M0gham“ has the

Gaelic connotation for expression rather than alphabet and as Flood says, The very word, “Ogham," suggests at once a musical signification, and therefore, it is of the highest

14 Reese, pp. cit., p. 392. ^

Loc. cit.

1® Henry Davey, History of English Music (London: J . Curwen and Sons, 1895), p. 4.

importance ,,to claim for Ireland the earliest form of musical tablature.3-” The Bressay Inscription (80gham Readings,” Journal R.S.A. 1857, p. 328) furnishes an early example of music scoring; and it is quite apparent that the inscriber regarded that Ogham and the quaint tablature employed were as one and the same —

in fact, three of the mystic strokes

are identical with three musical signs.'*-®

Musically, this

is in agreement with the words by Renau in La Poesie de la Race Celtlque: Ireland is the sole country of Europe where the native can produce authentic documents of his remote lineage, and designate with certainty up to prehistoric age, the source from which he sprung. This section has been devoted to the secular aspect only, and the reader must realize that there is much more written concerning the ecclesiastical elements.

The

writer tried to segregate these in the historical sense and will follow the same procedure in the next section. Old Irish scales.

The scales on which the old Irish

folk tunes were constructed were quite varied and it would be quite impossible to set down an analysis which would

^

Flood, op. cit., p. 3. Ibid., p. 4.

William Arm Fisher, Sixty Irish Songs (Phila­ delphia: Oliv&r Ditson and Company, 1915).

12

categorize the various tunes to the modes. for this is quite simple.

The explanation

In the evolution of the folk

song, the melody was molded more or less to the mood of the singer, and often down through the years great changes occured.

In fact, in some instances, the mode itself would

change entirely. A point that should be made clear is that the primary mode of the Irish, the pentatonic, is considered apart from the church modes, in which we find the Gregorian or Ambrosian chants.^ There has been a great deal of theorizing concerning the.,old Irish modes, their beginnings and development. $

(

* .*• ’

^

.Dr. dames. Cfolwick listed fifteen different Irish scales ’ and he compared the old "gapped " (pentatonic) scales to -f

1

those of Chinese, Russian, and Zuni Indians.

Flood studied

thousands of the old airs and concluded that the old Irish / scale was definitely pentatonic. Following the C D EG AC pattern, he deduced that there were five modes, each be­ ginning on a different step of the scale.^ There has been some digression of opinion as to whether the pentatonic mode was more Scottish than Irish in character.

Although this would be a difficult problem

i

See Chapter 5 in Reese. ^

Flood, op. olt*, p. 32*

13 to answer considering the aspect of interralation of peoples and customs, and the Anglo-Celtie period, it may be assumed that there is no basis for a circumscribed Scottish claim to the pentatonic mode.

In fact, an authority

on Scottish music, Colin Brown, has calculated that not more than a Htwentieth part of Scottish folk tunes are in the pentatonic mode."22 r Harmony.

The ancient Irish must have had some concept

of harmony, judging from G-iradus* mention in Volume I of his Social History of Ancient Ireland.25

He speaks of the

“little strings tinkling under the deeper tones of the bass strings11 and this is borne out by many words and expres­ sions in native Irish writings.

In his Topographlca

Hibernica III, 10, Giraldus commented further, for the performance is not heavy and gloomy (as among the Britons to whom we are accustomed) but is rapid and dashing, yet a gentle and pleasing tone effect. It is astonishing that in so great rapidity of fingering, musical proportion should be retained, and art in every­ thing satisfied, through involved changes, and harmonies of manifold complication.24 v Folksong*

Before continuing with actual instances

22 Cecil Sharp, English Folk Songs; Some Conclusions (London: Novello and Company, Ltd., 19(57), p. 45. 25 Joyce, op. cit., p. xvii. 24 Davey, op. cit., p. 21.

of Irish folk music, it may be well to examine the term "folk elements" and particularly bring out those aspects of the term which have a definite relation to popular music.

In his book, Sharp uses the word "folksong" exclu­

sively to denote the song which has been created by the common people, in contradistinction to the song, popular or otherwise, which has been composed by the educated.

He

goes on to differentiate between the common people and the educated, but since that is beyond the realm of this "thesis, or this society for that matter, the writer will consider only the general definition. The word, folksong, itself is a German compound and was oftentimes confused with popular m u s i c * I n 1878, Carl Engel contributed, on the subject, a series of articles to the Musical Times, which afterwards were issued in book form under the Title, The Literature of National Music, in which he says, The great majority of airs printed in Hitson* s English Songs can evidently not be regarded as national airs in a strict sense of the term, although the tunes may have been at some time in popular flavour. The same remark applies to the airs in almost all the English collec­ tions of old songs* The difference between a national song (Grpirman-Voik si i ed) and a merely popular song (Ger­ man-Volks thu mliohesTIied) is not always distinctly observed by t'Ee "English musicians, and the two terms are

often used Indiscriminately.^ At the present time, there is not the difficulty over terminology which seemed to be quite a stumbling block in the path of the English folksong collectors.

In the

Irish collections we will see that this element does not receive nor recessarily require the meticulous attention to thiji, detail, because in most instances there was much * dissimilarity between the characteristics of the Irish and English, both in music and personality.

Sharp has an

excellent chapter (Chapter II) on the Origins of Folk Music which cover these pertinent points*

Folk song differs

generically from composed music, the former being dis­ tinguished by certain technical peculiarities. The same / applies in the relationship of composed music and folk music.

But, apart from technical differences, the extreme

naturalness, the freshness, and unconventionality of folk music are Just those qualities which are missing from the so-called "popular" music of the past centuries.

This is

a salient point which the reader should remember when dis­ cussing the music of America in 1860-1900.

The writer will

try to show these elements (naturalness, freshness, and unconventionality), and the way in which they found their

Carl Engel, An Introduction to the Study of National Music (London: Longman, Crreen, 1891), p. 157.

16 way Into a type of popular music Examples of folk music.

The Irish MHo-Hoanea (II)

was a common country dance which ended in popularity about the time of Queen Elizabeth (or approximately the first quarter of the seventeenth century).

HHo-HoaneH is evi­

dently a corruption of the expression MochoneM which means **alasla and, in the song, is an expression of sorrow of a young woman for her lost lover at sea. • .This anonymous melody is listed as number XXVI in the Fitzwilliam Virginal Book thematic index and is one of three Irish airs listed in that collection, the other two being ,fIrish Dumpe9 and "Callino Casturame, 9 the latter t arranged by William Byrd.^7 ^

^ ~

All are in 6/8 time.

Redfern Mason, in his Song Lore of Ireland says of

tiie aHo-Hoane9: With these four regularly recurrant notes the peasant singers of Ireland, combining them with the soprano melody, make the two principle chords in music, dominant and tonic, the pillars on which have been erected the towering superstructure of modern harmony. When these primitiye musicians have shown the way, all the world might follow. This air is commonly known as “Balllnderry” and was one which was transcribed by Dr. Bunting. 27 H. C. Colles, editor, Grove1 s Dictionary of Music and Musicians, (third edition; New York: Macmillan and Company^ 1§38), p. 735. Irish Music — article by Frank Kitson. 2® Redfern Mason, Song Lore of Ireland (New York: Baker and Taylor, 1911), p. 81.

17 Another form of the same melody is given in Grove, and the "Cronan" or drone bass, is fitted to the upper voice to form somewhat of a walking ground to the melody. (Ill) Another air, in the pentatonic mode, and of a different nature is the “Limerick11 (Luimneach).

(IV)

It

is Irish and in the key of G which was the most ancient scale of the Celts. An important point to remember concerning the tempi of the Irish airs is that many of the dances in 6/8 measure were originally march tunes; the “slow march” used by other nations never prevailed among the Irish, where battle music was frequently in 6/8 time with two accents in the bar.3^

In addition to battle music, many civil

occupations in Ireland had appropriate music, such as tunes for the milking of cows, spinning, and ploughing.

All these

were in a reel or Jig form, and were usually fiddled, xJoyce gives a good description of these types3^ and also many examples such as “The Cows Are A-Milking.“

(V)

Similar to this air are sixteenth century allusions

Grove, op. cit., p. 737. 30 Ibid., p. 736. 31 Ibid-, P* 737. 32 Joyce, op. cit., p. xix.

18 to the “Irisk Key11 and “Irish Trot,11 examples of which are given in Playford1s Dancing Master.33 As stated in the introduction, there is to be no attempt to categorize the folktunes in their various modes and settings*

In the discussion of Robert Moore in

Chapter III, there will be given other songs which are rela­ tive to both this section and that* However, it would be well to have as a final in­ clusion in this chapter, the “Be n Erinn i“ (VI) of which Mason says, Indeed this remarkable air, which is an apostrophe to Erin, summarized, in the small space of a single period, the principle characteristics of Irish music. It is in the scale of E®. The first time D (the seventh of the scale) appears, it is flattened, sugges­ ting Gregorian influence. Two bars further on, it is naturalized; the leaven of modernization is working. In the little passages of embroidery, first the 4th is skipped, then the 7th. The five note scale of the Ancient Celts is still potent, in spite of the lapse of ages.34

33 Grove, op. cit.t p. 737. 34 Mason, pp. cit., p. 71.

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CHAPTER III IRISH MUSIC AND WORLD INFLUENCES This chapter will be concerned with the outside influences in Irish music which began with the early Invasions of the island, and which showed a definite change from Celtle-Irish to Anglo-Irish. Between the years 1180-1280 there was a fusion be­ tween the invaders and the native Irish and some years sub­ sequently, the English all over the country were fast becoming absorbed with the native population.

In addition

to those relationships of the earlier periods, there were advances In the trade and communication channels with other nations.

F. W. Joyce, in reference to this subject and

period, says: On this point we must remember that the relations of the Irish and Danes in the old times were not always those of strife. There was much friendship and much intermarriage. We know all this direct from history; and the records are corroborated by an examination of family names. We have in Ireland numerous names of Danish origin, such as Mao Auliffe, Danaher, Reynolds, MacManus, Cotter, Doyle . . . On the other hand there are many names in Denmark such as Niall, Kormak, Karthie, Fagan, etc. . . .*■ If names have survived thus, is it not possible that the airs have also?

The writer is not thinking so much of

^ Joyce, op. clt., p. xiv.

26 Ireland and Denmark In the eleventh century as of Ireland and America in the nineteenth century. at either place.

The theory applies

Joyce*s inquiry into Scandinavian music

showed that in general character and structure the Danish airs approach nearer to Irish than do the Swedish and Norwegian. The Irish KCruiscan lan, H which is identical to the Scottish HJohn Anderson, my Jott found another counter­ part in the Danish melody “Sjaellandsk Vise.M^ This same melody — Song of Scotland —

(I)

according to a note in Wood* s

was in a collection of old popular

Swedish ballads published in Stockholm in 1816.3

This would

substantiate the writer* s point that, there was a definite relationship between the folk music and the popular music, and that it was of an international nature. In addition to some reels and hornpipes which were nearly identical to Scotch and Irish, Joyce gives an example of one of . . . those Danish airs that closely resemble ours in structure and sentiment . . . Yet, if instead of being found in a Danish collection, it happened to be taken down from the singing of an Irish or Scotch peasant, it would at once be accepted as an Irish or Scotch air.“4 (See “Bonden Og Eragen.11) (II)

2 Joyce, op. cit., p. xv. 3 Loc. cit. 4 i M S *> P* xvl*

27 The period around the twelfth century showed a change also in the music of Ireland*s neighbor.

We know that in

the twelfth century Anglo-Norman culture began to influence the music of Scotland.

Many new instruments were brought in

from the South and there was encouraged the development of folk music of a recreative character, in contrast to the older and more serious bardic compositions.^ Giraldus, in the twelfth century wrote: Scotland and Wales, the former by reason of her derivation, the letter from intercourse and affinity, seek with emulous endeavors to imitate Ireland in music.6 Ireland was first invaded by the Normans in 1169, partially subjugated and brought more into connection with the rest of the world. to

From

this time on,

it ispossible

trace the development of Irish folk music, not

only

through their own writings but from the descriptions of those who travelled and settled in the country. /The writings of G-lraldus have done much to show what the Irish were like at this time and

it is from his accounts

thatwe

base many of our precepts. We know that the Irish, in this era, were in a definite position as a people and a culture, and even though

5 Heese, op. cit., p.

392.

6 Flood, pp. pit., p. 52.

28 they were invaded by the Normans, the Danes and Norwegians, and the English at various times, with an intermingling of blood and culture following, nevertheless Irish music was more and more emerging as a related part of the culture, rather than a separate element. Anglo-Irish Relationships.

One salient point in

the history of the creation of Irish Follt-music is the struggle, between England and Ireland, and South, Catholic and Protestant., After spending only a very short time in Ireland in 1948, the writer found it apparent that the long standing ill-will is still prevalent*. It is tied up in an Inexorable tangle of racial, political, and religious tenets, which can only be touched on here as they concern folk music. Two general considerations have governed the relationship of Irish musicians to the state. First:

The Irish musicians —

rhymers, singers —

were considered at the top of the

social ladder from ancient times. best.

harpers, poets,

Theirs was always the

They were in the spotlight then, just as they were

to be on the American stage from the Civil War until the turn of the nineteenth century. Second:

It was the Irish musicians who were the

first to be persecuted by the English.

Laws, similar to

29 the anti-cleric edicts, were passed against them.

Severe

penalties, including death, were imposed among them.

But

the love of their people kept their spirit and their music alive and formed the basis for some of the most stirring music ever written.

It is the emotional side of this

which embodied itself in the music of the Irish immigrants in America. Persecutions of musicians*

The English of the Pale

'(Dublin and Its surrounding area) were well aware of the hospitality which was extended to the minstrels and harpers and the esteem with which they were held by the people.

In

fact, many of them, at one time or another had welcomed Irish musicians into their midst. In the annals of Clanmacnoise, ** under the date 1351, there is reference to the hospitality extended to min­ strels and bards: William MacDonough maenach 0 ‘kelly invited all the Irish poets, brehons, bards, harpers, in Ireland to his house upon Christmas of this year, where everyone of them was well used during the Christmas holidays, and gave contentment to each of them at the times of their departure, so as everyone was well pleased, and extolled William for their bounty.®

Annals of Clanmacnoise, original lost, translated in 1627, C. Mageoghagen, edited by D. Murphy, published by Royal Society of Antiquities of Ireland, 1896. ® Flood, >op. cit., p. 71

It is difficult to abstain from bringing in at this point details of the Wars of the Roses (which began in 1455) for it was at this time that new penalties were inflicted on Irish musicians.

Edward III, in 1360, had

issued an ordinance forbidding any Englishman to speak Irish and also ordering that “every Englishman must learn English and must not have his children at nurse among the I r i s h . I n 1367, the first acts were passed against 11bards, minstrels, and rhymers11***® and Edward III forbade the “entertainment of these persons.“

Henry VI, in 1435,

Imprisoned harpers and confiscated their belongings, thus setting the pattern for Henry VIII, who made it law that anyone who should make verses “to anyone under God on earth except the King” should lose his goods. Through the time of Elizabeth and James I, the persecutions continued up to the notorious “penal days1* of William of Orange, at the end of the seventeenth century.

After that time, the troubles of the musicians

weren*t resolved by any means, but they were Integrated more into the general political difficulties which plagued the nation.

9 Ibid.. p. 91 I® Maeon, ,og. olt., p. 31. 11 Loo. olt.

31 Popular elements in ancient folksongs* Many of the songs of these troubled times were related to events which occured.

As early as 1070, the adaptation of words to folk

and popular melodies had been practiced for various pur­ poses.

At this date, Thomas (Archbishop of York) "whenever

he heard a secular song or ballad . . . immediately composed sacred adaptations to be sung to the same tune."*^

The

practice continued through the thirteenth and fourteenth centuries and was the basis for the ballad singer, who was an important part of Irish life in the eighteenth and rineteenth century, and contributed much to the folk-music and popular music relationship.I3 An example of an early ballad is one which was composed by a citizen of Waterford, a town in the south of Ireland, about 1370.

It is important in two ways.

First,

it is the only example of Irish secular music of the thirteenth and fourteenth century.

We must assume that it

was a common household song of the time, although the music disappeared long before Sir James Ware copied the "first Staffe only" in 1608.

Secondly, as typical of the uses to

which folk tunes were put, it is a warning for the citizens against the Powers clan.

The Powers, or le Poers, were the

12 Flood, op. cit.t p. 89. 13 See Chapter V, p. 1, concerning Colm O ’Laughlin statement.

32 most powerful clan in county Waterford from the thirteenth to the sixteenth century.-**4 On page 24 of Ware's transcript-*-5 we read: There is in this book, (the book of Ross or Water­ ford) a long discourse in meter, putting the youth in mind of harm taken by the Powers, and wishing them to beware for ye time to come. I have written out the first staffe only; \

Young men of Waterford lernith how to plai For yur mereis plowjs ilad beth a way* Scure yur h felis y*6 lang habith a lei And fen you of the Powers that walk by the way. 1for rede For if his taketh you on and on From him scapeth .thewcnever one I swer bi Christ and St. John That off goth yur hed 'Now hi walketh *For your mares and plows are both led away Secure your oats that lieth long in the field Christmas carols, which were also mostly adaptations ^ of secular songs, were popular among the Irish in the ^ fourteenth century and continued in favor until the reign of Elizabeth.16

See Holly and Ivy Girl.

(Ill)

^

The songs of the troubadors were an important tie in the music history of the middle ages and:

14 Flood, ^og. cit., p. 91 15 Loc. cit. Oxford Library).

(Landsdowne MSS No. 418, Earl of

3*5 Flood, og. cit.t p. 103.

33 It becomes clear, on a study of these songs, that the people, whether high or low, composed their melo­ dies unrestrained by any theoretical law. Our present deatonic scale appear to have been the basis on which they intuitively built their lays. Thus it is selfevident that the chansons of the Troubadors, and the songs of the Minnesingers were the precursors of the great change which took place in the middle of the seventeenth century, when art-music seceded from the hitherto-used Church modes, to adopt the system of scales and keys now in common use.

^ William Chappell, Old English Popular Music (London: Chappell and Company, lS$3J, Vol.1, p. 'Ix. Quoting Emil Naumann, History of Music, English Translation, p ♦ 233•

34 I Sjaellandsk Vise

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i— , i - T = M = J

f

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......... . . J-- - j r = ^ r Joyce p. xv

, - rs— 1 J

35 II Bonder! og Kragen

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_____ __________________ ■ ■ ■

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■

1

36 III Holly and Ivy G-irl

|j>-1riUM n IJrrJIJttnl:i:.i'-J-f Coa® buy my nio« fr®ih I-vy and ®y hol-ly

>

J

bought 00 gr®®n,

r f.I I! U M ' I f

hav# th« falraet branch-®®

that ®v-ar y#t war® ®««n;

I

rj Com®

buy from m® good Christians, and 1st ra® ho*a« I pray, and X1XI

H 'fL W ll.

1 r .T N " » > r t 5

wish you a marjg^y Chriat-ma® time, and a hap-py N«w Y«ar ‘a Day. Murphy p. 158

CHAPTER IV SOME TYPES OF IRISH MUSIC We have seen thus far that the Irish, as history advanced, were more and more having their popular and folk music internationalized through the inroads of invasion, trade, and intermarriage*

Irish folk music, as such, though

having been sung and known through the centuries was gaining new advocates and there were many who were interested in copying and preserving the old tunes.

In Chapter I, the

names of some of the famous collectors were given, although not in any order of importance or chronology.

These men

were all Irish, but it is to be seen that many others, primarily English, were aware of the significance of the Irish folk music and much was written about it.

Sir Hubert

Parry, the English composer and author, once said, Irish folk music is probably the most human, most varied, most practical in the world, and is particu­ larly rich in tunes that imply considerable sympathetic sensitiveness.^ Bandel.

In the study of Song Collecting, the reader

finds names which normally would not be thought of in connection with Irish music.

There are numerous claims by

Irish writers to the influence of their native music on the

1 Fisher, op. cit., p. xi.

works of well-known compbsers.

Handel, who visited Dublin

in 1741-1742,'was known to have been fond of the folk tunes of the nation.,

This writer hesitates to quote some of the

rather vague statements but it is verified that Handel introduced an Irish Jig in'Acis and Galatea^ and an Irish folk song, “Der Arme Irische Junge"* (The Poor Irish Boy) may be seen in Handel's Manuscripts and Sketches in the Fitzwilliam Museum.^ Arrangements by Haydn and Beethoven.

G-eorge Thomson

was one of the first to commercialize the Irish folk tunes. \ He made collections also of Welsh and Scotch tunes and had accompaniments written by contemporary composers, Including Beethoven, Haydn, and Pleyal.

Although his ventures weren't

a monetary success, he was careful in his work, with constant revising and amending.^

Both Beethoven and Haydn wrote

accompaniments and fashioned settings for his two volumes, (1814-1826).

Haydn set only one Irish air, whereas Beethoven

did a total of fifty-nine.

The volumes were handsome and

did Just tribute to the arrangers, although the originality of the settings was rather dubious, as a hearing of the

^ Flood, Other historical references.'

All through Irish

history, songs have played a part in keeping alive memories of heroic deeds and fanning the fires of discontent which have always burned so brightly in the hearts of many Irish­ men.

The big question was a religious one and when the

English disenfranchised both the Catholics in the South and the Presbyterians in the North (Ulster), there was real trouble at hand.

The United Irishmen were formed under

Grattan and Wolfe Tone, both Protestants^ and they eventu­ ally sought aid from France.

The force which was sent to help

them ran into inclement weather and had to turn back.

This

episode forms the subject of the song “The Shan Van Voght“ (IX) —

which term means Mthe poor old woman,11 that is,

Ireland. The song of this period which retained the greatest popularity was “The Wearin* of the Green.“ (X)

This refers

to the prohibition by the English authorities in 1798 of the display of the national emblem, the Shamrock.

Although

the tune was used as a marching song by the United Irishmen, it is now generally sung at a slower tempo, in keeping with words.

Napper Tandy, referred to in the first verse, was a

member of the rebel group. rebellion collapsed —

For all their efforts, the

but from history we get many of the

25 Piggott, op. cit., p. 30.

47 songs which dated from that period and took their part in the events which eventually led to the formation of the Sinn Fein and the Irish Free State.

The song had been sung

in various versions in Ireland previous to 1798, and the melody is generally believed to be an adaptation of a march MThe Tulip,” composed by James Oswald in 1757?6 popular text is the one by Dion Boucicault. /

The most

(x)

Thomas Moore Relations with George Thomson.

One of

the leaders of the 1798 uprising was Robert Emmet27 and, although he gave his life for the cause, the name of his companion during college days at Trinity (Dublin) has lived on and is synonomous with Irish music in present day con­ siderations.

Thomas Moore (1779-1852), although a poet

and writer by profession, is best remembered today for his settings of the old Irish folksongs, many of which hadn't been transcribed at the time.

Moore first became interested

in collections of Irish music through a correspondence of hiw with George Thomson, who had at this time (1807) had considerable success with his first volumes of Original Scottish Airs for the Voice (begun in 1787). But, despite the flattery of being asked to collaborate with Haydn, he (Moore, referring to the Scottish airs) had found the melodies given him flippant and uninteresting

Page, op. olt., p. 116. ^

Encyclopaedia Britannlca, Vol. VIII, p. 397.

48 and had not taken up the challenge. In Dublin, mean­ while, two young music sellers, William and James Power, had seen their opportunity . . . If Thomson had been successful with Scottish songs, why should not the Irish melodies be commercially profitable? . . . Moore, whose nationalistic fervor had been rekindled by his visit to Dublin, and who had already written the lyric: ,fOhl Breathe not his name,11 generally supposed to refer to Robert Emmet, seems to have grasped the possibilities of the idea.28 First issues of Irish melodies.

The first "number11

"t^le Jrlsh Melodies was issued in April, 1808, and met with instant success.

Moore was contracted to do all the words

for succeeding editions (the original plan was to have several poets) and eventually received an annuity of around I»500 from the brothers Power for his songs. Included in the first volume were “Remember the G-lories of Brian the Brave, * “Erin, the Tear and Smile in Thine Eyes," "Cardans Concerto" and the lament for Emmet, "The Brown Maid," ("An Cailin Donn").

See XI.

"The Harp

that Once Through Tara1s Halls" (air: Gramachee)

(XII) is

illustrated on the frontpiece of the first volume. - In the second volume is found the well-loved "Believe Me if all Those Endearing Young Charms"

(XIII).

Howard

Mumford Jones says of this* . . . words exquisitely fitted to the melancholy air and, as poetry, beautifully fingered. And at the end of the song which has gone round the English-speaking world, that song, the beautiful falsity of which

28 Howard Jones, The Harp That Qnce — Henry Holt and Company, 1§37), P« 1^3

(New York:

49 ridicule cannot kill nor parody quench, because it has caught the sweet nostalgia of romanticized love as no other English lyric of sentiment has ever done . . . It is useless for the criticism to protest that Shake­ speare and Shelley can better this writing, useless to point out the laughable ineptitude of 11dear ruin” use­ less to speak of sentimentality and hollow complaint. The world has taken Tommy to its bosom for this song, as it has for the “Last Rose of Summer” and certain others, because these triumphs arg in their own absolutely and flawlessly right.29 ,

Styleizations by Moore. Moore gave them new life

and form.

First, he revised many of the tunes for publi­

cation in the Melodies*

Since the tunes were for public

sale, he took liberties with the old modes and settings so that they were better fitted for the song styleizations of his day.

This rather brutal (musically speaking) practice

has survived to the present day and has reached heights of infamy undreamed of in Moore*s time. Jones continues in this vein: And it is equally useless for musical archaeology to protest that Bunting1s collection, from which Moore plundered, is a truer recording of Irish music; that Moore altered cadences, turned gay tunes into sad ones, inserted grace notes and roulades, and in general transformed Celtic folk tunes into something that would please Regency dinner parties; useless likewise to show that Stevenson's “symphonies11 are frequently too much like Haydn and too little like Ireland, his accompani­ ments often commonplace and thin. What else were poet and musician to do? They had to work with the tools of their time. Neither pretended to be an antiquarian. Moore who selected the airs and miraculously fitted words to them, went to work much as Scott had done with

2^ Jones, op. clt., pp. 107-108.

50 the border ballads, that is to say, in a fashion which modern scholarship abhors. But the Irish Melodies were never intended to be a work of scholarship. By one of those miraculous fusions of talents, poet and composer, amid their rain of little falsities, their small and verbal pretiness, somehow contrived to seize upon the essence of the material, somehow conveyed that mingling of mirth and melancholy, of sentiment and tragic under­ tone, of rollicking humor and plaintive nostalgia which, whether Irishmen like it or not the world has agreed to recognize as characteristic*^0 The faults of the Irish Melodies are obvious and patent; they are too facile, too shallow — a word —

too commercial.

to sum it up in

But as Moore said, in later years,

“Music was the only art I was born for, and even my poetry sprung from that,” and in spite of the tamperings, his settings of the old melodies were pliable and have retained their beauty down through the years.^

30 Jones, op. cit., p. 108. Examples and analyses of several of the old tunes and Moore settings are given following this chapter.

51

I Beethoven Settings

15

't Och, have you n o t hoard Tat* o f •

The pulse o f on I r - l a h-agn ev-er boat a Qulote-o f when r -f~ jr r— ,r ~ 0 - — t ~g

m Hoplcineon and

Oldoan p. 5 5

52

II Brian the Brave

H#-mem-ber the glo-rie© of 3ri-an the breve, Tho* the

f-

¥

i

f

f. /W -I 'It '-f'l Lf|

day© of the be-ro are o'er. Tho* loet to Mo-no-aa end

i=fc ;■

J f

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t' H G '

cold in the grave He re-turn© to Kin-ko-ra no morei If 11

r

f. i-

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t M

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.

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That

I,

r^

etar of the field which eo of-ten hea pour'd it'a

kf n I t' 1rt£ y 11f lj f ii on the bat-tle ie set,

But e-nough of its glo-ry re-

P»fi.

nijjt me Ina on each eword, to light ue to vie-to-yv vet. Page p. 98

53

Ill Moll Halfpenny

h

n

j jt 11 jn j, n

1JJP

v-rtft n inp?ru irfi r m ^ Joyce p. 60

54 IV The Coolin

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r— r J

T T L n l , i f 1 ---------- ’ I I

tfl i t l J C - U t j = 1-----«*-----i !

t H

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Grove p. 757

55

V Lili-Burlero

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-*

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W © , bredar Teiigaertlost hear de decree,

I

il-i-bur-Iar-o

1 tbfc:---< "+ ' 1 r 1 W 1 - - i- jJ- - J- - [-4.. "J- • ' _ -_ _ i 9 — Jl— .n i n 1... bul-len-a-l®, hat w® ©hell have a new dep—u- ’tee, J il— t-bur-lef-o » Y

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bul-l on-a-la» P igg o t t p. 28 :Tot©;

The last two verses of the song end thus: Dera w a s an old prophecy found in a bog, Ireland shall be ruled by an ass and a dog And now dis prophecy's come to pass For talbot's de dog and Jrame3 is de 888.

56 VI Purcell Arrangement;

L*£=.

j,

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* = *

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4:

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Duncan p. 295

-t-t

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57

VII The Protestant Boys

£

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Ire-land re-joice and Eng-land de-plore, Fae-tion and feud are

pae-eing a-way.*Twas a low voice, but 'tia a loud roar,

$

£

'Orange and Green will car-ry the day, Or-ange, Orange,,Green and Orange.

1,

t

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fr M t > J -

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Pit-ted to-gether in aa-ny a fray! Lione in fight and

linked in their might, Or-ange and Green will car-ry the day.

r

j. \

V \V ~ X

L

&

Or.ang.,Orang», Graan and dratlga, fava than togethar °'j5untlln snd ^

is Orange and Green, our King end Queen,Or-ange and Green will carry the day. Murphy p. 10

58 VIII The Battle of Boyne

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44 flP

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linas for to re-t irej ..But K ing Wil-lia m thraw hia

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bomb-ahalla in, And aat thara all @n fira. M off a t p. 28

59

IX The Shan Van Voght

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Oh tha Franch ara on tha aea, aaya tha Shan Van Voght

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French are on tha sea, say a tha Shan Van Voght. Tha F'ranch ara in tha

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Piggott p.50

60

The Wearin* of the Green

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P»d-dy doar and did you hoar tho now a that*a go-ing

4 - A - — ■—

T~t-

round,

t Tr T 4=-^=— lr-

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y

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tho Sham-roclc ii for-bid by law to grow on Ir-iah

fe-t

} ground*

S'

S

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[1 > *

And Saint Pat-rick1a day no moro wo'11 koop, hia

co-lor can*t bo aoon,

For tfeori'a a blood-y law a-gainat tho

a woar-in* of tho groan. K

I rao1b with Nap-por Tan-dy and ho

I

j i i

—n----f o ■4------- feH ^ — ----^jz .----& » - * — Jr... r 41— y ::Z3 >* r - L—0---- 1-------------if----------- ■--------H took mo by tho hand, and ho aaid "How* a poor ould Iro-land and

fc=k

how doaa aha atand?”

Shofa tho moat dio-troaa-ful country that

SS ov-or you

hato

aoon* Thoy'ro hang-in' man and f®a-on for tho

*oar-in ff tho groan

Moffat p. 56

61 XI An Cailin Donn

kbl l i*— ~T~T0*.—k —£—•f~i—r— r—> —J— —z T“ -8a 4-“ -f a 4-^f—t~ — J—f —r—H —I1 j> X--------£ — Oh, breathe not his name, let it sleep in the shade

Where j

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cold and un-hon-our'd his re-llcs are laid! Sad, si-lent end dark be the

h k i— r> ^

f •f:•; - •r..l X

^ y I— *-e-iL4

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tears that we shed, As the night-dew that falls on the gras a o'er a his head*

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-fefiffc j,

Murphy p. 120

------:

62 XII The Harp That Once....

. Tha harp that ogee thro* Ta-ra'a halla Tha soul of au-»ic ahad, Now 1 L_ Lr * ----- P --- f-- ?--- f- 1 t— -4----d---- 4 i -----4 i— — — 11---f .. a------ -»-------11— --- 1 . - $ r r ± .= * = -| f -T= 3 = ! ' — = ± = R ----- :--- 1---- 1— 1 « so hang a a a muta on ra-ra'a walla aa iLf that aeul ware n»dJ

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•leaps that pride of former day®, So glory1a thrill ia o'er,

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1> T ~ ' 1 |-----And

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hearta, that onea beat high for praise,

How faal that pulaa no baura* Murphy p. 85

63 XIII Believe Me If All Those Endearing Young Charms

1]-. > )» ]»

I

— j— F* I

Be-lieve me, if all those en-dear-ing young charms Which I

gase on so fond~ly to-day,

1

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Q

Wera to change by to-mor-row, and

\ H

h

fleet in my arms, Like fai-ry gifts fa-ding a-way, Thou woulds't

M »>t -f>>Tistill be a-dor’d as this mom-ent thou art, Let thy

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^

love-1i-nees fade as it will, And a-round the dear ru-in each

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wish of my heart, Would en-twine it-self ver-dant-ly still. Mills p. 10

-j

CHAPTER V IRISH IN AMERICA I.

IRISHMEN IN AMERICAN HISTORY

Although the great wave of Irish immigration to America was during the middle of the nineteenth century, there had been Irishmen on this side of the Atlantic for more than two centuries previous to that time.

The early

settlers had become a part of the new nation and had willingly lost their identity with the old country.

This

brings to light one of the most interesting facets of Irish character and shows a part of their definite influence on the American scene in all fields, including entertain­ ment.

This is seen in the comparison between the early

immigrants (those arriving up to and including the first quarter of the nineteenth century) and the later arrivals. The former had become the toughest sinew in the backbone of American democracy and from this sturdy Scotch-Irish stock came many great statesmen, soldiers, and artists. From the earliest musical documents in America, it is seen that the Irish have played an important part in the development of a native music, tempering it with the modes and melodies of their homeland.

65 II.

YANKEE DOODLE HISTORY

One of the first popular tunes was “Yankee Doodle11 (I) and is still one of the most important because of its history.

It has never been ascertained where it came from

exactly although there are many stories about its origin. This writer considers the research done by Sonneck as the * most authoritative and reliable.

He analyzes the various

claims, including those of Flood, who wrote in the "Dolphin" (Philadelphia, 1905, Vol. 8, pp. 187-195): v

n

The very structure of this tune is seen to be very decidedly Irish and apart from any other argument intrinsic evidence should point to its Irish origin . . . The. above printed version by Aird in 1782, antedates the “Two to 0ne“ (1784) version by two years and is much nearer the Irish original (All the Way to Galway) with the strongly marked C natural (the so-called “flat seventh“) so characteristic of seventeenth century tunes in D major. However, the oldest form of the tune is also given here as it appears in a MS dated 1750, the authenticity of which is beyond question.1 Sonneck goes on to list the various claims of

“parentage" on page 107 and it is interesting to note some of the bases for claims.

At the end of this chapter will

be given the Irish versions of the tune under (I). Importance.

The study of “Yankee Doodle11 is es­

pecially important because it shows clearly some of the most important aspects of the folk song idea.

It had sprung

from the people, and yet it was the most popular tune on the Oscar G. T. Sonneck, Report on the “Star-Spangled Banner” “Hail, Columbia” “America11 Yankee Doodle" (Washington, D. C.: Library of Congress, l909.

infant American stage at the time of the Revolution. had political as well as humorous connotations.

It

And by

the fact that it went through so many changes of lyrics, variations in tune, parodies, and arrangements —

it

exemplified the constant shifting of the folk tune.

Even

with the claims of Dutch, Spanish, Hungarian, and English, as well as Irish origin, it had established itself as a completely American song by the time of the Revolutionary War and has been accepted as such since.2 This passing example shows that an actual melody and words, in one form, can constitute a separate entity in the folksong group. During the great

time of the Revolution, the Irish were of

help inthe cause of American freedom.

One fourth

of the total American officers in the Army and Navy were Irish and 11throughout America, in the colonial wars and the War of the Revolution, the Irish displayed a most notable and courageous loyalty in the fight for American Independence. III.

FIRST PERIOD OF IRISH IMMIGRATION

The first Irish had come over in 1621 and settled in Massachusetts.

Most of the first scattered groups

2 S. J. Fitzgerald, Stories of Famous Songs (New York: J. B. Lippincott, 190?), p. 141. ^ F. Braxton, “Irish in our Revolution,8 National Republic, 19:24-54, March, 1932.

67 (1621-1718) were from Ulster and during this period they settled widely over the colonies and established settle­ ments in the mountains of Kentucky and the Carolinas where many of their customs and dialects have remained to this day*

Cecil Sharp, Siegmeister, and the Lomaxes were among

many folksong enthusiasts who discovered the treasure of old melody in the southern hills. This first group of immigrants was quite different from the Southern Irish who came over after the Revolution. We find that the folksongs which Ulstermen brought were quite removed from the type of the later immigrants.

But

both groups provided a prototype on the American stage. The early groups tended to personify the dashing, romantic Irishmen because their songs were the melodic ballads of the north, while the later ones were the butt of jokes, and were therefore put in the uncomfortable cast of the comic Irishman.

Their associated songs were jigs and reels

and songs with humorous words. The pre-Revolutionary settlers were probably more familiar with the very old Irish airs, because, as we have seen, the old harpers were nearly extinct by the time of the Belfast gathering in 1792.

Also the seat of Irish

Minstrelsy was in Ulster and provided the most melodic airs.

68 IV.

DIFFERENCES IN THE TWO PERIODS OF IRISH IMMIGRATION

One definite distinction between the two periods of Irish immigration was the feeling of the newcomers toward themselves*

The early Irish (those primarily from Ulster)

had come here looking for opportunity and the songs which they favored'were much more Americanized than those of the other group.

The latter were refugees from the notorious

English Penal laws and two disastrous uprisings in 1798 and 1803*^

They suffered much under adverse economic con­

ditions and the overpopulation of their native land.

Their

music reflected, however, a longing for their old country and they tended to clan together in the larger cities, rather than move west as the earlier Irish had done* But they were here to stay.

The great majority hated

and distrusted the English and were anxious to ally them­ selves with a country which had thrown off the yoke of British imperialism. wildered —

They were poor, uneducated, and be­

and had little to offer to America in exchange

for liberty other than their own love of liberty. V.

EARLY SONUS

An Irish song of this period was "Bridget Donohue" (II) and the words reflect the attitude of the immigrants

69 clearly, while the music is interesting for its definite break away from modal implication and tends more toward a type of fiddle tune which was dear to the hearts of the southern Irishmen.

The period of immigration before the

mass exodus to this country in the middle of the nineteenth century saw the building of an Irish-American music literature which was to be the forerunner of the great popular period in the latter years of the century. VI. Sonneck (a)

a

FIRST STAGE ELEMENTS

lists some of the Irish songs as follows:

Two collections of Irish patriotic songs in the "American Songster." 1780 and 1799.

(b)

An adaptation of the old Irish air of "Gramachee" ("Had I a Heart" by Thomas Linley — from the opera "Duenna," 1789)

(c)

“The Jolly Hibernian in Full Glee; or complete Irish jester and wits vademecum. Containing a more humorous variety of original stories, comical bulls, witty repartees, entertaining anecdotes, jests, etc. than ever appeared in the Irish or any other language. To which are added the face­ tious history of John Gilpin and a new song in praise of St. Patrick." Philadelphia, 1790.

(d)

The Shamrock — Comic Dance . . . An Irish comic dance with medley composed by Alexander Reinagle. Presented at the New Theater, Philadelphia, March 18, 1796.

(e)

The Coolun (Celebrated Irish Air) New York, 1798.

5 o. Sheet Music.

T. G. Sonneck, A Bibliography of Early American Library of Congress, Music Division, 1§45.

70 (f)

“Paddy1s Resource” a “collection of modern and patriotic songs — compiled for the use of the people of Ireland . . . at the request of a number of Hibernians in this country who were desirous of having copies of them.“ R. Wilson Printer, New York, 1798.

(g)

"Drimendoo” a much admir*d ancient Irish Air. 1800.

(h)

“Thou Dear Seducer of My Heart" translated from the Irish. New York, 1799-1800. Even at this early period, we see In "The Jolly

Hibernian" the beginnings of the American stage Irishman with his jokes, dances, and songs. merely transplantation.

This wasn*t new but

The “stage Irishman" dated back

to 1637, when the play "St. Patrick for Ireland" was given at the Dublin Theatre in Warburgh-street.

At this time

many of Ben Jonson*s plays, as well as those of Beaumont and Fletcher, were popular.

As time progressed, the Irishmen

in the English music hall became more anglicized, so in effect, the “stage Irishmen" wasn*t Irish at all.6 VII.

ECONOMIC CONDITIONS

Paradoxically, the actual economic conditions of the Irish did not fit in with the gay carefree prototype on the stage.

Poor people from a poor country, they had very

little opportunity to develop skills.

Most of them were

forced to do heavy manual labor which did little more than

6 Flood, .op. cit., p. 211.

to keep a bit of stew in the pot.

And prejudice was

growing with the increasing numbers of immigrants. This aspect of the Irish problem grew more important as the nineteenth century advanced.

Oddly enough, as

Hurley says: The Irish of the Revolution were absorbed into the fabric of the nation, and possibly many of their descendents, their Irish entity covered over by inter­ marriage, Joined in the growing mistrust of the newer immigrants from Ireland." So we enter into the period which was to be a black one for the Irish in the United States, for some worse than that from which they had come, and a period which made the greatest Impression in the later stage music. This was the beginning of the comic Irishman, the beginning of the phrases "Hit him again, heMs Irish,11 the beginning of such songs as "No Irish Need Apply," "The Lament of the Irish Immigrant," "The Exile of Erin," and other songs which did not sing of the hope of liberty and happiness which the Irish had dreamed about on their unhappy island. This was also the beginning of the association of the Irishman with the Jew, Negro and the German in their uncomfortable position as the butt of Jokes and bawdy songs a position which, paradoxically, gave them the voice with

^ Doran Hurley, "Irish Persecutions in America," American Mercury, May, 1939, p. 49.

72 which to speak out and to make a place for themselves in the still young nation.

Through songs; songs which, though

of a popular nature, still retained much of the folktune character, the oppressed groups of America were able to sustain themselves and pull themselves up during the latter half of the nineteenth century. VIII.

RACIAL DIFFICULTIES

Doran Hurley, in his article “Irish Persecutions in America,M tells some of the tribulations of the Irish in the period preceding the Civil War.

This information the

writer considers as relative to the subject and Just a few instances will be mentioned to justify their Importance. Through the activities of several groups including the Know-Nothing Party, the Nativists, and the StarSpangled Banner Society, there were many riots and dis­ turbances during the thirties and forties.

The first major

upheaval was in Boston in 1833 when a mob stoned and stormed houses in Charleston, a suburb.

Although he disclaimed

any connection, the trouble stemmed from the constant antiIrish tirades of Rev. Lyamn Beecher, a well-kncwn Nativist leader.

The Nativists, as well as other groups, had two

objectives —

the disenfranchisement of all foreign born

and a constant persecution of all Catholics.

There were

subsequent riots in Boston in 1834 and 1837, and many

?3 were injured and much Irish property destroyed.

One of

the leaders in this was a rabble-rouser called "Angle Gabriel" Orr who incited the mobs by dressing in a long white robe and blowing blasts on a large brass horn. attacks on Irish homes and churches.

He led many

This is an interesting

commentary on the misplaced power of music. But the retaliation of Irish caused other disturbances and the activities of the Leopoldine Society, a German organization for the spread of Catholicism, caused outbreaks in St. Louis and other midwestern cities.

The violence

reached its peak in the Philadelphia riots of 1844 which lasted three days and nights, ending with the grisly total of fourteen dead, thirty-nine wounded, and many Irish homes and churches burned to the ground.

The various organizations

gained power steadily throughout these troubled times and the only thing that eventually broke them was a split in the slavery issue.

With the Civil War, they disappeared. IX.

ECONOMIC INFLUENCES

Previous to the great famine in Ireland, which lasted periodically from 1845 to 1855 (the worst years were 18461847), and as Gavin says "literally blasted whole towns and wafted them to the waiting ships,"® the Irish had made some

® John Gairn, "The Irish Myth," Forum, June, 1932, pp. 32-33.

74 marks on the economic progress of America.

In his American

Ballads and Folksongs, Lomax tells of the Irish and the famed Erie Canal (III) and of the building of the early railroads.^

See ttPaddy Works on the Railroad.”

(IV)

Sears defines this as being derived from one of the old capstan chanteys.^

The evolution of the chanteys, or

shanty boy tunes, is covered very thoroughly in Coleord1s Roll and G o » ^ All the various types of work showed the evolution of tunes.

Many of narrative poems, in ballads, pattern

after the old Irish BCome Ye All,sH in having a few words of preface.

For example among lumbermen one song begins:

Come all ye Shanty Boys and listen while I relate about a brave shanty boy and his untimely fate . . . and Casey Jones, a railway song, which found its way upon the stage, Come all ye rounders if ye want to hear a story about a brave engineer . . . Colm O ’Loughll^s Irish Street Ballads gives many examples of the " H 1 ri J

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II Bridget Donohue

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Fo r d p. 277 Although primarily a f i d d l e tune, sung to the the air;

the following words were

Oh, Bridget Donohue, I dearly do love you A l t h o u g h I'm in America to you I will be true. I sent m y love a picture, I did upon my word, 'Twas not the p i cture of myself, but the picture of a bird. 'It's the American Eagle' says I, 'Miss Donohue, 'There's room beneath this eagle's wings to shelter you and m e . ' Oh, Bridget Donohue, I'll tell you what I'll do, You take the name of Patterson and I'll take Donohue.

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79 III The Erie Canal

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Er-ie Ca-nal. She's & good old work-er and a good old pal,

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fif-teen yeara on the Er-ie Ca-nal. We've hauled some bar-ges

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in our day, Pilled with lua-ber, coal, and hay,

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Left him a farm and tan a-eras of ground; ha gava a grand par-ty to

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friande and re-la-tione, who did not for-gat hia whan come to tha wall, and

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4 £ U. .U|-L-P .fc_E=g= if you but lie-tan I'll make your aye a gl is-tan at tha rows and ruc-tiona ©f

iiHi Lan-i-gan'a Ball, O'Loughlin p. 104

94 III 1*111

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Groin* Down the Rivuh

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Well, I fm go-in down the ri-vuh be-fo*long*

Wheeler p* 50 Note pentatonic influence, and the rhythmic influence on the word "down”.

95

IV Is Y o 1 Lamps Gone Out?

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Ie yo' lampe gone out? Ie yo' lampe gone out?

Oh,

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ehat you go-in to do in E-^ypt yhen yo1 lamp■ gope out? Wheeler p. ~J6

[

96

V Alberta Let Yo* Hair Hang Low

ITT " 9'

.

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A______________________

:r=h f jos1 lot y©' hair

hang low. Wheeler p. 86

JEf you'll

1

97

VI The Girl I Left Behind Me

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heart falls back to Er-in's Isis, To the girl I left be-hind

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VII G-arry Owen

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VIII The Mulligan Guard

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IX Widow Nolan* s Goat

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1 '

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Paddy Duffy* s Cart

The ma-ny hap-py eve-nings I spent whan just a lad on Pad-dy Duf-fy*s

lum-ber cart, quit# safe a-way from Dad; It stood down on the cor-ner,

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seat-ed thara in Duf-fy*s cart on sum-mer nights to sing. Spaeth,

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and Weep p. 155

...

102

XI My Nelly* s Blue Eyes

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£ —------------------------- ! z,.::-4#— £— 1 eyes. 1 Luther p. 272

Compare this vsalt2 to the three versions of Eileen Aroon on the following page. Th e s e three versions from 17^0, 1729, and 17^5 (in order), show the variation in melody and lyric (note the spelling of the title) of the Irish folksong and are typical of their type.

103

XII Eileen Aroon

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CHAPTER VII SUMMARY Throughout the nineteenth century, the singing of songs was one of the most favored forms of entertainment in America. This was particularly true in the decades following the Revolutionary War, when our theatrical and musical life was in its infancy. Among the rich and poor alike, the singing of songs was so widespread a diversion that by 1843, we find the New York ‘‘Mirror" remarking that *. . .the popular song had become a passion . . . This quotation brings us back to the main point of the thesis.

The important thing to consider is not only

that irish music was popular on the American stage, but that it remained with the people themselves.

Not only was

Irish folksong a vehicle for humor and melody, but it was an outlet and a medium for the American epople. One cannot disregard the importance of popular music as a social, as well as an economic, force in our present day society.

And so it has been from the very beginning. I.

THE 11POP11 TUNE

The modern musician must be all too aware of the effects of the so-called “pop tune.11

Serious musicians,

those with a knowledge and appreciation of all types of music, oftentimes tend to laugh off the popular song as of

^ David Ewen, Songs of America (New York: Thomas Y. Crowell, 1942), p. 9.

105 no importance whatsoever.

But the period 1860-1900 was

the one which established the popular song as an institution rather than a passing fancy.

It was this period which

introduced personalities, the forerunners of the present-day movie and radio idols.

This period was one in which home

music came to the fore; when family groups gathered around the parlor piano and sang the tunes which were popular at the time . . . and most of these tunes were from stage presentations. II.

TIN PAN ALLEY

Tin Pan Alley came into being and song writing became a commercial venture.

Naturally, cheapening Influences

crept in from all sides. show this effect.

The Irish tunes were the first to

Although the modes had been lost in the

shuffle years before, much of the simple beauty remained and still does. The parodies and dialects were amusing to read and sing but one cannot dismiss them entirely on that precept. The truth.of the matter is that the songs mirrored the Irish-American as he grew.

He had no concern for the modes,

the ancient battles and heroes —

his problems were everyday

ones and the songs reflected just that.

The same had held

true for many of his forbears in the old country as seen in their various street ballads.

Many Irish writers, among

106 them Doyle, have deplored this situation and attempt an explanation thus: The lowest ebb in Irish literature was from the middle of the eighteenth century to the Celtic Renais­ sance, now fifty years old. (1948) He continues, in reference to the latter half of the nine­ teenth century:

•

The comis Irishman was in the making. Handy Andy became a household word. The Irish comic was a fixture on the American stage right down to World War I, along with the Jewish, Negro, and German comics. They were laughed at good-naturedly In that age of innocence before tolerance had become a fetish or intolerance a fever.2 III.

SUMMARY

In summary, the writer hopes that he has established the following points: 1.

Irish folksong dates from ancient times and is

integrated with the music of other nations. 2.

Irish folksong is both evolved and composed,

revised and refined. 3.

Irish folksong is, in a sense, popular music,

because 11? was a definite music of the people. 4.

These elements of Irish folksong were in American

popular music, 1860-1900: a.

An. emotional and person feeling to the music.

^ L. F. Doyle, “Irish Cavalcade," Catholic World, p. 522.

107 b.

Subject matter pertaining to persons and places.

c.

Certain expressions and modes, but used more in the sense of parody.

5.

These elements were not a definite part of

American popular music, 1860-1900:

6.

a.

Ancient modes.

b.

Serious political and religious connotations.

There are many similarities between Irish and

American reels and jigs. 7.

These elements of American popular music are not

a definite part of Irish folksong. a.

Excess chromaticism.

b.

Words in tunes which are similar to reels and rounds.

c.

Sentimental balladry —

“Mother Machreeisms.H

BIBLIOGRAPHY

BIBLIOGRAPHY A.

BOOKS

Berg, Albert W. (editor), The Favorite Irish Melodies of Thomas Moore. New York: Edward B. Marks, 1921. 94 pp. Black, Eleanore and Sidney Robertson (editors), The Gold Rush Song Book. San Francisco: The Colt Press, 1105. 55 pp. Chappell, William F. S. A., Old English Popular Music. Edited by H. Ellis Woolridge. London: Chappell and Company, , 1893, Vol. I. ^ Colcord, Joanna C., Roll and Go. Indianapolis: Bobbs, Merrill and Company, 1§24. 118 pp. Davey, Henry, History of English Music. Sons, 1895. 517 pp.

London: J, Curwen and

Dichter, Harry, and William Shapiro, Early American Sheet Music. New York: R. R. Bowker and 'Company, 1941. Duncan, Edmunstoune, The Story of Minstrelsy. London: Walter Scott Publication Company, Ltd. ,"L1~907T 336 pp. ^ Engel, Carl, An Introduction to the Study of National Music. London: Longman, Creen and Company, 1812. 435 pp. Ewen, David, Music Comes to America. Crowell, 1942. 319 pp. t Songs of America.

Chicago:

New York: Thomas Y.

Ziff-Davis Company, 1947.

Fisher, William Arras, Sixty Irish Songs. Philadelphia: Oliver Ditson and Company,r 1915. 201 pp. Fitz-Gerald, S. J. Adair, Stories of Famous Songs. J. B. Lippincott, 1906. 426 pp.

New York:

Fitzwilliam Virginal Book (edited from the original manuscript). New York! Brou&e Brothers, (n.d.J. Vols. I and II. Flood, William H. Gratton, A History of Irish Music. Brown and Nolan, Ltd., T9H51 *542 pp.

Dublin:

110

Ford, Ira W., Traditional Music of America* New York: E. P. Du 11on arid 6 ompany, r§40. 4^**pp. Fox, Charlotte Milligan, Songs of the Irish Harpers. London: Bayley and Ferguson, T9l07 212 pp. __, Annals of the Irish Harpers. and Company, 1912. 320 pp.

New York: E. P. Dutton

Fuller-Maitland, J. A. and W. Barclay Squire (editors), Fltzwilliain Virginal Book (edited from the original manuscript). New York: Broude Brothers, (n.d.). Vols. I and II. G-eller, James J., Famous Songs and Their Stories. Macauley and Company, '1031. 24lT*pp7 Gilbert, Douglas, Lost Chords. 1942. 482 pp. Goldberg, Isaac, Tin Pan Alley. Company, 1930. 436 pp.

New York:

New York: Doubleday and Doran, New York: John Day and

Hopkinson, Cecil and C. B. Oldman, Thomson1s Collections of National Song with special reference to the contributions of BeetRoven and Haydn. Howard, John Tasker, Our American Musio. Y. Crowell, 1939. 841 pp.

New York: Thomas

Johes, Howard Mumford, The Harp That Once — . Henry Holt and Company, 1937. 365 pp.

New York:

Joyce, P. W . , Old Irish Folk Music and Songs. Dublin: Hodges, Figgis, and Company, Ltd., l90 97 408 pp. Kaufmann, Helen, From Jehovah to Jazz. and Company, 193?. 303 pp.

New York: Dodd, Mead,

Klickmann, F. Henri (editor), Irish Songs. Music, Inc., 1942. 62 pp.

New York: Mills

Kramer, George Nicholas, A History of the Know-Nothing Move­ ment . A Doctoral dissertation,"""The University of Southern California, Los Angeles, May, 1936. Loesser, Arthur (editor), Humor in American Song. Howell and Soskin, 1942. 315 pp.

New York:

Ill Lomax, John and Allan, American Ballads and Folksongs. York: Macmillan and Company, 1334. 311 pp.

New

Luther, Frank, Americans and Their Songs. New York: Harper and Brothers, l342T*~ 323 pp. Marks, Edwin, They All .sang.New York: Viking 436 pp. , They All Had G-lamour. 1344. 447Tpp.

Press, 1934.

New York: Julian Messner, Inc.,

Mason, Redfern, The Song Lore of Ireland. and Taylor, 1911. 329 pp.

New York:

Moffett, Alfred, The Minstrelsy of Ireland. London: and Company, 18*37, third edition. "^355 pp.

Baker Augener

Murphy, J. J. (editor), The National Songs of Ireland. Cincinnati: The John Church Company, 1832. 163 pp. 0* Curry, Eugene, On the Manners and Customs of the Ancient Irish. London: '""Williams and Norgate7 1B73. 3 Vols. 0 ‘Lochlainn, Colm, Irish Street Ballads. revised 1946. 235~pp. 0 ‘Neill, Capt. Francis, Irish Folk Music. Publications, 1910. "359pp. Figgott, H. E., Songs that Made History. Dent, Ltd., T337. ' T ’Tpp. Reese, G-ustave, Music in the Middle Ages. Norton, 1940. 502 pp. ~

Dublin: O'Laughlin, Chicago:

Regan

London: J. M. New York:

W. W .

Sandburg, Carl (editor), The American Songbag* New York: Harcourt, Brace and Company, 1327. 49(T pp. Scott, Harold (editor), English Song Book. New York: Robert McBride and Company7 1326. 149 pp. Sears, Minnie Earl, Song Index. Company, 1926. _____, Song Index.

New York: H. W. Wilson and

Supplement, 1934.

Sharp, Cecil J., English Folk Songs: Some Conclusions. London: J. M. Dent and "Sompany, Ltd., 1 907T~ 143 pp.

112

Siegmeister, Elie, Work and Sing. Scott, Inc., 1944. ~ "SSTpp.

New York: William R.

Smith, Reed (editor), American Anthology of Old World Ballads. New York: J. Fi scTier” and Company, 1 §2?•

72 pp.

Sonneck, Oscar G. T., Report on 11The Star-Spangled Banner“ 11Hall, Columbia11 “America17” “Yankee Doodle.“ Washington, D. C.: Library"'of Congress, T969. 248 pp. A Bibliography of Early American Sheet Music. Washington, C. C.: Library of Congress, T&457 816 pp. Spaeth, Sigmund, Read 1Em and Weep. Page Company, 1927. 243 pp. , Weep Some M ore, My Lady. Page"~5ompany, 1927. 268 pp. , They Still Sing of Love. "192^ 243 pp. ~

, A History of Popular Music Random house, T948. 657 pp.

New York: Doubleday and

New York: Doubleday and New York: Horace Liveright, in America.

New York:

Stevenson, E., Early Reviews of Great Writings. London: Walter Scott Ltd." (n.e.), 323 pp. Vaughan Williams, Ralph, National Music. University Press, 1934. 148 p p .

London: Oxford

Walker, Ernest, History of Music in England. London: Oxford University Press, 1924, second edition. 386 pp. Witmark, Isadore, From Ragtime to Swingtime. Furman, Inc., 1939. 489 pp.

New York: Lee

Yust, Walter (editor), Encyclopaedia Brltannica. Chicago: London: and Toronto: Encyclopaedia Brltannica, Inc., 1946. 16th edition. B.

PUBLICATIONS

Brand, P. B., “Music Popular at the Time of Lincoln,“ Etude, 223-224, April, 1934.

Braton, P., "Irish in Our Revolution," National Republic. 19:24-54, March, 1932. “ -------- ------rColura, Padraie, "The Gathering of the Harpers," Commonweal. 121383-384, August 13, 1930. Doyle, L. F., "Irish Cavalcade," Catholic World, 166:522-9, ~ March, 1948. Fairchild, Henry P., "Problems of Immigration," Nation, 98; April 16, 1914. Gavin, John, "The Irish Myth," Forum, 87:32-33, June, 1932. Gould, Joseph, "Balladry in America," Nation, April 16, 1914. Hackett, Francis, "Irish in America," Nation, June 4, 1914. Hurley, Doran, "Irish Persecution in America," American Mercury, 47:49-55, May, 1939. McGill, A. B., "Irish Characteristics in Our Old Song Survi­ vals," Musical Quarterly, 18:106-119, January, 1932. Murdoolc, William, "An Old Irish Friend," Etude, 64*-620, November, 1946. O'Brien, M. J., "Irish in America in the 18th Century," Catholic World, 64;620, November, 1946. O'Faolain, Sean, "Folk With More Rhyme Than Reason," Saturday Review of Literature, 32^12, August 13, 1949. Officer, H., "Place of the Folk Song in Modern Music," Musician, 34:12, October, 1929. O'Malley, F. W., "American Sons of the Ould Sod," American Mercury, 18:25-33, September, 1929. Robinson, John A., "Dear Harp of My Country," .Etude, 60:161, March, 1942. Smith, E. C., "Folk Song Exerts Universal Appeal," Musician, 44:154, September, 1939.

APPENDIX

APPENDIX A LIST OF THE PRINCIPAL COLLECTIONS OF IRISH MUSIC (From 1725 to 1887) A.D. 1726

Neale*s Collection of Irish and Scotch Tunes (Dublin).

1726

Neale* s Book of Irish Tunes (Dublin).

1727-8

Wright* s Aria di Camera*

1729

Coffey’s ballad-opera, The Beggar*s Wedding.

1738

The Vocal Miscellany (Dublin).*

1742

Burke Thumoth1s Scotch and Irish Airs.

1743

Burke Thumoth1s English and Irish Airs.

1747

Henry Brooke* s ballad-opera, Jack the Giant Queller.

1747

C^Carolan’s Collection (Dublin).

1748-9

Rutherford* s 200 Country Dances.

1743-64

Oswald’s Caledonian Pocket Companion - 12 books.

1754

Lee*s Masaue - 3 books.

1771

MacLean* s Selection of 22 Original Airs (Dublin).

1774

Jackson’s Celebrated Irish Tunes (Dublin)•**

1775

The Hibernian Catch Book (Dublin).

(Dublin).

* This is the third edition of a book of the same name of which the original was printed in London, in 1733. ft&raes of the tunes are prefixed to each song. ** There have been three reprints of this collection.

116 APPENDIX A (continued) LIST OF THE PRINCIPAL COLLECTIONS OF IRISH MUSIC 1779

0* Cardan's Collection (New Edition)

(Dublin) .*

1784

MacDonald1s Collection of Highland Airs.

1786

Walker's Irish Bards (Dublin).

1786

The Musical Miscellany iPerth)

1787

Thompson's Hibernian Muse.

1788

Aird* s Selection.

1791

Brysson1s 50 Favourite Irish Airs.

1792-3

The Edinburgh Musical Miscellany.

1794

Cooke1s Selection of 21 Favourite Original Irish Airs (Dublin).

1795

Gaudry*s Masonic Songs (Dublin).

1796

Bunting* s Ancient Irish Music.

1798

Holden1s Masonic Songs (Dublin).

1793-9

Thomson's Four Sets of Scottish Airs

(including

numerous Irish Tunes). 1797-9

Vocal Magazine.

1787-3803 The Scots Musical Museum. 1801

Crotch* s Speclmans.

* The date for this publication is usually gives as "1780," but it was issued on January 1st, 1779. Another edition was issued in 1783, by Hime, of College Green, There were four other editions between the year 1780 and 1800; and, in 1804, Broderip and Wilkinson of London, published an edition, suppressing the names of the tunes. ** A new and enlarged edition of this work appeared in 1788, under the title of Calliope, containing English, Irish, and Scots songs.

117

APPENDIX A (continued) LIST OF THE PRINCIPAL COLLECTIONS OF IRISH MUSIC 1800-2

0* Farrell* s Irish Music for the Union Pipes.

1804

Mulholland* s Irish and Scots Tunes.

1805

Miss Owenson* s Twelve Hibernian Melodies (Dublin).

1804-6

Hime1s Selection of Original Irish Airs (Dublin).

1804-10

0* Farrell1s Pocket Companion for the Irish Pipes.

1807

Abraham Mackintosh1s Collection.

1808

Holden*s Periodical Irish Melodies (Dublin).

1809

Murphy1s Irish Airs and Jigg.

1809

Bunting* s Second Collection.#

1810

Mulholland*s Ancient Irish Airs (Belfast).

1810

Power's Musical Cabinet (Dublin).

1812

National Melodies of England and Ireland.

1804-14

Hime* s Collection of Country Dances (Dublin).

1808-12

Moore* s Irish Melodies, No. 1 to No. 4 (Dublin)**

1815

Fraser* s Highland Airs.

1814-16

Thomson* s Irlsh Airs (arranged by Beethoven). (Two Vols.)

1815-17

Kinloch*s One Hundred Airs*

* There were two issues of this edition, but the original was in 1809, by Clements of London, containing seventyseven airs, price LI 6s* The seoond edition was published in 1811* ** Most authors give the year 1807 as the date of the first issue of Moore1s Irish Melodies* The actual date was 5th April, 1808, and the publisher was™William Power of No. 4 West­ moreland Street, Dublin, the printers being Messrs. Carrick, of 29 Bachelor1s Walk, Dublin. This first number contained twelve airs.

118 APPENDIX A (continued) LIST OF THE PRINCIPAL COLLECTIONS OF IRISH MUSIC 1813-18

M o o r e d -^rish Melodies.

No. 5 to No. 7 (inclusively),

(Dublin). 1814-16

Fitzslmon1s Irish Minstrelsy, by Dr. Smith (Dublin).

1818

A Selection of Irish Melodies (Dublin).

1818

Holden*s Favourite Irish Airs (Dublin).

1816-18

Campbell1s Albyn* s Anthology.

1820

Mona Melodies.

1821

MacCullagh* s Collection of Irish Airs. Three Vols. (Dublin).

1821-22

0*Callaghan1s Collection of Irish Airs.

1821-24 Moore*s Irish Melodies.

Nos. 8 and 9*

1825

Smith* s Vocal Melodies

of Ireland.

1826

Egan* s National Lyrics.

1834

Moore*s Irish Melodies.

1840

Bunting* s Third Collection.

1840

Clinton* s 200 Irish Melodies for the Flute.

1840

Alexander*s Flowers of the Emerald Isle.

1840-2

The Citizen, edited by W. E. Hudson.

1841

Clinton*s Gems of Ireland.

1841

Crouch* s Gems of Ireland.

No. 10 andSupplement.

* Number 8 was published by James Power, London, in 1821 with symphonies and accompaniments by Sir Henry Bishop. However, in June of the same year, a pirated edition was pub­ lished by William Power, 4 Westmoreland Street, Dublin, with symphonies and accompaniments by Sir John Stevenson.

119 APPENDIX A (continued) LIST OF THE PRINCIPAL COLLECTIONS OF IRISH MUSIC 1841-2

National Music of Ireland*

1843

Fitzgerald* s Old Songs of Ireland, by

1844

Horncastle* s Music of Ireland.

1844-5

The Spirit of the Nation.

1845

Lynch*s Melodies of Ireland.

1846

Conran*s National Music of Ireland.*

1847

Henderson*s Flowers of Irish Melody.

1849

0*Daly*s Poets and Poetry of Munster.

1850

Moore*s Irish Melodies, by Francis Robinson.

Guernsey.

^ Six Books.

Two Vols. First Series. Two

Vols. 1854

Surenne* s Songs of Ireland.

1855

Petrie*s Ancient Music of Ireland.**

1859

Moore* s Irish Melodies, by Glover.

1859

Moore* s Irish Melodies, by Balfe.

1860

Gems from Quid Ireland, by Ogden.

1860

Songs of Ireland, by Wellington Guernsey.

1860

0*Daly* s Poets and Poetry of Munster, New Series.

1861

Davidson*s Irish Melodies.

* Published by James Duffy, Dublin. was Issued in 1850 by Johnson, of London.

A second edition

** A Supplement, containing thirty-four airs, was issued in 1882. However, the entire Petrie collection, in three volumes, containing almost 2,000 airs, has been issued by Boosey, of London, for the Irish Literary Society, London.

120

APPENDIX A (continued) LIST OF THE PRINCIPAL COLLECTIONS OF IRISH MUSIC 1861

Hughes1 Collection.

1865

Old Songs of Ireland, by Arthur 0 ‘Brien.

1858-73

Levey*s Collection of Irish Dance Music.

1873

Dr. Loyce*s Ancient Irish Music.

1873

Songs of Ireland, by Molloy (Boosey*s edition)*

1877

Hoffman* s edition of Petrie for Pianoforte

1882

Songs of Old Ireland, by Stanford.

1887

Irish Music and Song, by Joyce

Two Vols.

* An enlarged edition, by Hatton and Molloy, was printed in 1882.

APPENDIX B A CHRONOLOGICAL LIST OF THE HARRIGAN AND HART PLAYS: DATE 1873 1873 1874 1875 1876

Plays Ned Harrigan with Sam Rickey) and later with Tony Hart Harrigan and Hart

1877 1878 1879 1879 1879 1180 1880 1880 1880 1881

Harrigan and Hart A Celebrated Hard Case Mulligan Guard Ball Mulligan Guard Surprise Mulligan Guard Christmas Mulligan Guard Chowder Mulligan Guard Picnic Mulligan Guard Nominee Mordecai Lyons Mulligan* s Silver Wedding

1881 1881 1882 1882 1883 1883 1884 1884

The Major Squatter Sovereignty The Blackbird McSorleys The Muddy Day Cordelia1s Aspirations Tribulations Investigation

1884 1885 1885 1886 1886 1887 1887 1888 1889

McAllister*s Legacy Old Lavender The Grip The Leather Patch The 0*Regans Pete McNooney* s Visit Waddy Googan Lorgaire

1890 1891 1893 1894

Reilly and the 400 The Last of the Hogans The Woolen Stocking Notoriety

Theaters

Variety Halls and Theaters

Old Theatre Comique 514 Broadway

New Comique Theatre 728 Broadway (During the run of this play, the theater burned down.)

New Park Theatre 35th St. and Broadway

Harrigaa's new 35th St. Theatre (Later The Garrick East of 6th St.)

APPENDIX C Written by Dave Braham (1838-1906) Braham composed the vast majority of the songs sung by Harrigan and Hart from 1872 to 1894. The lyrics were written by Ned Harrigan, although in some Isolated cases Harrigan turned out both lyrics and music. In a few in­ stances another writer supplied the words. Little Widow Dunn Pitcher of Beer Paddy Duffy1s Cart Skidmore Fancy Ball Babies on Our Block Slavery Days Patrick1s Day Parade Never Take the Horse-Shoe from the Door The Regular Army Oi Mary Kelly’s Beau Isle de Blackwell Skidmore Guard Over the Hill to the Poor House Major Gilfeather The Widow Nolan’s Goat My Dad’s Dinner Pail Hildebrandt Montrose Gallant 69th Mulligan Guard Malone at the Back of the Bar Sergeant Hickey of the G. A. R. Jim Jam Sailors Superfine McNally’s Row of Flats Market on Saturday Night Are you There, Moriarity? Boot Black Bold Hibernian Boys Emancipation Day Eily Machree Flirting in the Twilight Gliding Down the Stream Ginger Blues

appendix d

I Often Think of Writing Home

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let-ter *©w end then I get, which fill* a* with de-light; But

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f* • i t f

1 11

And I*** 1^ rip'til

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I re-turn, and tell them all I know. For it keep* a men a-huap-ing round te

i'll keep up with the time*

^ - : 7 ' T 3 mines

m

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111 f t -f

And pen and ink is ver-y *caree with peo-ple in the ;

J J- J i'll t i- -Ml- T j

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And writ-ing don't amount to much, un-le*e you have the dime* G o l d Rush Song Book p.

This setting is to the old Irish air,

’’Irish Molly 0".

10

APPENDIX D (continued)

124

VI An Honest Miner

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bag. As he lugged it a-way from the pen Was think-ing how luck-y he'd j

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been? Went into a hole, dug deep af-ter gold, with

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pig in the bag turn-bled In. Gold R u s h Long B o o k p. 12 This setting is to the Irish air "The Low Backed Car".

APPENDIX D (continued) 125

VII Drill Ye Tarriers

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Ev-1ry morn-ing fit h y -«d o’clock, There were twan-ty tar-ri-«rs a-

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come down heav-y on the caat ir-on drill** And drill, ye Tar-ri-era [

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drill.

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Drill, ye tar-ri-ere, drill. Oh, it’s work all day for the

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au-gar in your tay,

Down be-hind the rail-way. And y

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drill, ye tar-ri-era drillJ

Jr And blaet!

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And fire!

Siegraaister p.80