Appendix: a Selection of Annotated Texts
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Thomas Moore, Whose Patri- Manuscript Facsimiles and Musical Files, Otic-Imbued Writings Earned Him the with Commentary,” He Said
cc Page 24 Echo Lifestyle Ireland’s Minstrel Boy gets his encore By Michael P. Quinlin [email protected] William Blake. Phase one of the Moore project is slat- BOSTON — Ireland’s first mega star ed to go live this November, when the wrote poetry, history tomes and political Hypermedia Archive will be launched polemics that made him the talk of the at a conference in Galway, according to town in his native Dublin as well as in Ryder. London, Boston and New York. “By next year, we should have all the We’re not talking about Bono here, ‘Irish Melodies’ available online as texts, but rather Thomas Moore, whose patri- manuscript facsimiles and musical files, otic-imbued writings earned him the with commentary,” he said. The interest in Moore is enhanced by www.irishecho.com / Irish Echo May 21-27, 2008 titles Bard of Erin and Ireland’s National Poet. two new biographies, including one It was Moore’s lyrics to ancient Irish published last month by Ronan Kelly airs that brought him fame and notoriety entitled, “The Bard of Erin: the Life of during his lifetime and beyond. His Thomas Moore,” which Ryder says is famous collection, “Moore’s Melodies,” superb. was admired by the likes of Beethoven Like Ryder, Professor Flannery in and Lord Byron, and translated into six Atlanta never lost faith in Moore’s languages. importance in Irish history as a song- “Moore’s Melodies” was a ten-vol- writer, a literary influence and a nation- ume set of 124 songs published between alist figure. -
1St First Society Handbook AFB Album of Favorite Barber Shop Ballads, Old and Modern
1st First Society Handbook AFB Album of Favorite Barber Shop Ballads, Old and Modern. arr. Ozzie Westley (1944) BPC The Barberpole Cat Program and Song Book. (1987) BB1 Barber Shop Ballads: a Book of Close Harmony. ed. Sigmund Spaeth (1925) BB2 Barber Shop Ballads and How to Sing Them. ed. Sigmund Spaeth. (1940) CBB Barber Shop Ballads. (Cole's Universal Library; CUL no. 2) arr. Ozzie Westley (1943?) BC Barber Shop Classics ed. Sigmund Spaeth. (1946) BH Barber Shop Harmony: a Collection of New and Old Favorites For Male Quartets. ed. Sigmund Spaeth. (1942) BM1 Barber Shop Memories, No. 1, arr. Hugo Frey (1949) BM2 Barber Shop Memories, No. 2, arr. Hugo Frey (1951) BM3 Barber Shop Memories, No. 3, arr, Hugo Frey (1975) BP1 Barber Shop Parade of Quartet Hits, no. 1. (1946) BP2 Barber Shop Parade of Quartet Hits, no. 2. (1952) BP Barbershop Potpourri. (1985) BSQU Barber Shop Quartet Unforgettables, John L. Haag (1972) BSF Barber Shop Song Fest Folio. arr. Geoffrey O'Hara. (1948) BSS Barber Shop Songs and "Swipes." arr. Geoffrey O'Hara. (1946) BSS2 Barber Shop Souvenirs, for Male Quartets. New York: M. Witmark (1952) BOB The Best of Barbershop. (1986) BBB Bourne Barbershop Blockbusters (1970) BB Bourne Best Barbershop (1970) CH Close Harmony: 20 Permanent Song Favorites. arr. Ed Smalle (1936) CHR Close Harmony: 20 Permanent Song Favorites. arr. Ed Smalle. Revised (1941) CH1 Close Harmony: Male Quartets, Ballads and Funnies with Barber Shop Chords. arr. George Shackley (1925) CHB "Close Harmony" Ballads, for Male Quartets. (1952) CHS Close Harmony Songs (Sacred-Secular-Spirituals - arr. -
HEANEY, SEAMUS, 1939-2013. Seamus Heaney Papers, 1951-2004
HEANEY, SEAMUS, 1939-2013. Seamus Heaney papers, 1951-2004 Emory University Stuart A. Rose Manuscript, Archives, and Rare Book Library Atlanta, GA 30322 404-727-6887 [email protected] Collection Stored Off-Site All or portions of this collection are housed off-site. Materials can still be requested but researchers should expect a delay of up to two business days for retrieval. Descriptive Summary Creator: Heaney, Seamus, 1939-2013. Title: Seamus Heaney papers, 1951-2004 Call Number: Manuscript Collection No. 960 Extent: 49.5 linear feet (100 boxes), 3 oversized papers boxes (OP), and AV Masters: 1 linear foot (2 boxes) Abstract: Personal papers of Irish poet Seamus Heaney consisting mostly of correspondence, as well as some literary manuscripts, printed material, subject files, photographs, audiovisual material, and personal papers from 1951-2004. Language: Materials entirely in English. Administrative Information Restrictions on access Collection stored off-site. Researchers must contact the Rose Library in advance to access this collection. Special restrictions apply: Use copies have not been made for audiovisual material in this collection. Researchers must contact the Rose Library at least two weeks in advance for access to these items. Collection restrictions, copyright limitations, or technical complications may hinder the Rose Library's ability to provide access to audiovisual material. Terms Governing Use and Reproduction All requests subject to limitations noted in departmental policies on reproduction. Emory Libraries provides copies of its finding aids for use only in research and private study. Copies supplied may not be copied for others or otherwise distributed without prior consent of the holding repository. -
"The Given Note": Traditional Music and Modern Irish Poetry
Provided by the author(s) and NUI Galway in accordance with publisher policies. Please cite the published version when available. Title "The Given Note": traditional music and modern Irish poetry Author(s) Crosson, Seán Publication Date 2008 Publication Crosson, Seán. (2008). "The Given Note": Traditional Music Information and Modern Irish Poetry, by Seán Crosson. Newcastle: Cambridge Scholars Publishing. Publisher Cambridge Scholars Publishing Link to publisher's http://www.cambridgescholars.com/the-given-note-25 version Item record http://hdl.handle.net/10379/6060 Downloaded 2021-09-26T13:34:31Z Some rights reserved. For more information, please see the item record link above. "The Given Note" "The Given Note": Traditional Music and Modern Irish Poetry By Seán Crosson Cambridge Scholars Publishing "The Given Note": Traditional Music and Modern Irish Poetry, by Seán Crosson This book first published 2008 by Cambridge Scholars Publishing 15 Angerton Gardens, Newcastle, NE5 2JA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2008 by Seán Crosson All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-84718-569-X, ISBN (13): 9781847185693 Do m’Athair agus mo Mháthair TABLE OF CONTENTS Acknowledgements ................................................................................. -
Cambridge University Press 978-1-107-18014-7 — Seamus Heaney in Context Edited by Geraldine Higgins Index More Information
Cambridge University Press 978-1-107-18014-7 — Seamus Heaney in Context Edited by Geraldine Higgins Index More Information Index Abbey Theatre, , Balkans, Adams, Gerry, Bantock, G. H., Aeschylus, Barańczak, Stanislaw, , , Agamemnon, Batten, Guinn, – afterlife, , , , , , BBC Northern Ireland, , aisling (dream-vision poem), , , , – Heaney archive, , Allen, Donald, New American Poetry –, BBC Schools Service, Explorations, , , Allen, Michael, Beckett, Samuel, , alliteration, , , , Beecroft, Alexander, Alvarez generation, Belfast, , , , , Alvarez, Al, , –, Belfast Group, , , –, , gentility principle, Bell, Sam Hanna, New Poetry, The, –, Benjamin, Walter, ‘Critique of Violence’, – ‘Beyond the Gentility Principle’, Berkeley, University of California, –, Amis, Kingsley, –, –, Amnesty International, , , Bancroft Library archive, , Republic of Conscience Award, Bishop, Elizabeth, , , , , , Anahorish School, Blake, William, , Anglo-Irish Revival, Blandiana, Ana, Aristotle, Poetics, Bloody Friday, Armitage, Simon, Bloody Sunday, , Sir Gawain and the Green Knight, – Bloom, Harold, , Armstrong, Sean, Modern Critical Views: Seamus Heaney, Arnold, Matthew, , , , , Bly, Robert, –, ‘Dover Beach’, Silence in the Snowy Fields, Attic Press, ‘Teeth-Mother Naked at Last, The’, Auden, W. H., , , , , , , Bockhampton, , ‘In Memory of W. B. Yeats’, , , bog bodies, , , , , , , ‘Shield of Achilles, The’, bog poems, , , , , , , , , ‘Spain ’, –, , – auditory imagination, , –, –, –, bogland, – , Bogside, battle of, -
Echi Classici Nell'opera Di Seamus Heaney
UNIVERSITA’ DEGLI STUDI DI PARMA Dottorato di ricerca in Filologia Greca e Latina (e fortuna dei classici) Ciclo XXVIII L’Orfeo d’Irlanda: echi classici nell’opera di Seamus Heaney Coordinatore: Chiar.mo Prof. Giuseppe Gilberto Biondi Tutor: Chiar.ma Prof. ssa Mariella Bonvicini Dottoranda: Lidia Sessi Indice Introduzione p. 2 Capitolo I: La tradizione classica in Irlanda p. 7 Capitolo II: In difesa della poesia p. 56 Capitolo III: L'Orestea d'Irlanda p. 97 Capitolo IV: Il rito della sepoltura tra Grecia classica e Irlanda moderna p. 146 Capitolo V: Vergilius redivivus p. 190 Appendice p. 253 1 Introduzione In considerazione del notevole numero di studi sull'opera di Heaney, pare opportuno che ogni nuovo lavoro dichiari la propria raison d'être. In altre parole, sembra necessario precisare quale contributo si presuma di offrire alla comprensione del percorso poetico di Heaney, anche in rapporto alle monografie e ai saggi esistenti. È il poeta stesso a indicare la chiave di lettura che meglio consente di cogliere il senso profondo della sua ricerca estetica ed etica. Nel componimento “Out of the Bag” il narratore richiama l'attenzione su “the cure / By poetry that cannot be coerced”1. Riassumendo in questo verso le qualità fondamentali dell'arte poetica, Heaney mette in luce i tratti distintivi della sua produzione, sempre alla ricerca, fin dalle prime prestazioni, di una mediazione fra le pressioni socio-politiche del mondo esterno e la volontà di mantenere intatto il potere terapeutico del medium poetico. Lo scopo di questa ricerca è quello di affrontare la lettura, o rilettura, delle poesie di Heaney, come egli stesso suggerisce in “Squarings XXXVII”: “Talking about it isn't good enough / But quoting from it at least demonstrates / The virtue of an art that knows its mind”2. -
Dáil Éireann
Vol. 1009 Wednesday, No. 5 30 June 2021 DÍOSPÓIREACHTAÍ PARLAIMINTE PARLIAMENTARY DEBATES DÁIL ÉIREANN TUAIRISC OIFIGIÚIL—Neamhcheartaithe (OFFICIAL REPORT—Unrevised) Insert Date Here 30/06/2021A00100Ábhair Shaincheisteanna Tráthúla - Topical Issue Matters 573 30/06/2021A00225Saincheisteanna Tráthúla - Topical Issue Debate 574 30/06/2021A00250Rail Network 574 30/06/2021B00250Local Authorities 576 30/06/2021C00300Mental Health Services 578 30/06/2021R00400Ceisteanna ó Cheannairí - Leaders’ Questions 608 30/06/2021V00500Estimates for Public Services 2021: Message from Select Committee 617 30/06/2021V00650Ceisteanna ar Reachtaíocht a Gealladh - Questions on Promised Legislation 617 30/06/2021Y02200Ban on Rent Increases Bill 2020: First Stage 626 30/06/2021Z00800Presentation of Estimates: Motion 627 30/06/2021Z01150Estimates for Public Services 2021 628 30/06/2021Z01500Ceisteanna - Questions 628 30/06/2021Z01600Cabinet Committees 628 30/06/2021BB00300Anglo-Irish -
National Airs and Pianoforte Music
Technological University Dublin ARROW@TU Dublin Articles Conservatory of Music and Drama 2010 The Harper's Legacy: National Airs and Pianoforte Music. Una Hunt Technological University Dublin, [email protected] Follow this and additional works at: https://arrow.tudublin.ie/aaconmusart Part of the Musicology Commons Recommended Citation Hunt, U. (2010) The harper's legacy: national airs and pianoforte music. Journal of the society for musicology in Ireland, Vol. 6, 2010-2011. pp. 3-53. This Article is brought to you for free and open access by the Conservatory of Music and Drama at ARROW@TU Dublin. It has been accepted for inclusion in Articles by an authorized administrator of ARROW@TU Dublin. For more information, please contact [email protected], [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-Share Alike 4.0 License The Harpers’ Legacy: Irish National Airs and Pianoforte Composers UNA HUNT Sing, sweet Harp, oh sing to me Some song of ancient days Whose sounds, in this sad memory Long buried dreams shall raise.1 In Ireland, harpers were part of an ancient culture, as the words of that song of Thomas Moore suggest, and they enjoyed a high reputation in Europe from the twelfth century onwards.2 When they began to die out, the harpers’ music was col- lected and written down, and has since become an unique and important legacy of indigenous art. Furthermore, in the nineteenth century the harpers’ airs enjoyed renewed popularity throughout Europe as the basis for many variations, fantasias and other works for solo piano. -
The Novel and the Short Story in Ireland
The Novel and the Short Story in Ireland: Readership, Society and Fiction, 1922-1965. Thesis submitted in accordance with the requirements of the University of Liverpool for the degree of Doctor in Philosophy by Anthony Halpen April 2016 Anthony Halpen Institute of Irish Studies The University of Liverpool 27.03.2016 i ABSTRACT The Novel and the Short Story in Ireland: Readership, Society and Fiction, 1922-1965. Anthony Halpen, The Institute of Irish Studies, The University of Liverpool. This thesis considers the novel and the short story in the decades following the achievement of Irish independence from Britain in 1922. During these years, many Irish practitioners of the short story achieved both national and international acclaim, such that 'the Irish Short Story' was recognised as virtually a discrete genre. Writers and critics debated why Irish fiction-writers could have such success in the short story, but not similar success with their novels. Henry James had noticed a similar situation in the United States of America in the early nineteenth century. James decided the problem was that America's society was still forming - that the society was too 'thin' to support successful novel-writing. Irish writers and critics applied his arguments to the newly-independent Ireland, concluding that Irish society was indeed the explanation. Irish society was depicted as so unstructured and fragmented that it was inimical to the novel but nurtured the short story. Ireland was described variously: "broken and insecure" (Colm Tóibín), "often bigoted, cowardly, philistine and spiritually crippled" (John McGahern) and marked by "inward-looking stagnation" (Dermot Bolger). -
Gaelic Scotland and Gaelic Ireland in the Later Middle Ages
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Enlighten: Publications MacGregor, Martin (2000) Làn-mara 's mìle seòl ("Floodtide and a thousand sails"): Gaelic Scotland and Gaelic Ireland in the Later Middle Ages. In: A' Chòmhdhail Cheilteach Eadarnìseanta Congress 99: Cultural Contacts Within the Celtic Community: Glaschu, 26-31 July. Celtic Congress, Inverness, pp. 77-97. Copyright © 2000 The Author http://eprints.gla.ac.uk/91505/ Deposited on: 24 February 2014 Enlighten – Research publications by members of the University of Glasgow http://eprints.gla.ac.uk ‘Làn-mara ’s mìle seòl’ (Floodtide and a Thousand Sails): Gaelic Scotland and Gaelic Ireland in the Later Middle Ages Martin MacGregor I Bha thu aig Gaidheil Eirinn Mar fhear dhiubh fhéin ’s de’n dream. Dh’ aithnich iad annad-sa an fhéile Nach do reub an cuan, Nach do mhill mìle bliadhna: Buaidh a’ Ghàidheil buan. [You were to the Gaels of Ireland as one of themselves and their people. They knew in you the humanity that the sea did not tear, that a thousand years did not spoil: the quality of the Gael permanent.]1 The words of Sorley MacLean have become something of a Q-Celtic clarion call in recent years. They commemorate his brother Calum, whose work on each side of the North Channel on behalf of the Irish Folklore Commission and of the School of Scottish Studies, recording the oral tradition of those whom Calum, quoting the Irish poet F. R. Higgins, described as ‘the lowly, the humble, the passionate and knowledgeable stock of the Gael’,2 is as potent a symbol as there could be of the continuing reality of a greater Gaeldom, however attenuated, into our own times. -
Representing the Child's Memory: an Ulster
Patrick Doherty PhD Creative Writing February 2020 REPRESENTING THE CHILD’S MEMORY: AN ULSTER CHILDHOOD RECONSTRUCTED by PATRICK DOHERTY A thesis submitted in partial fulfilment for the requirements for the degree of Doctor of Philosophy at the University of Central Lancashire FEBRUARY 2020 1 Patrick Doherty PhD Creative Writing February 2020 2 Patrick Doherty PhD Creative Writing February 2020 ABSTRACT In this thesis I examine the potential for the self-representation of an Ulster, rural, Catholic childhood in 1950s -70s through the creative practice of writing my own memoir in the first person, present tense and the aging child’s point of view, in a fractured, non- linear narrative. My memoir uses the child’s language appropriately in accordance with my understanding of child development gained from a lifetime of teaching. My memoir underscores, through personal experience, the revelations of child abuse over the past thirty years as exposed in the Ryan Report in 2009. My narrative strategy of using the first person and child’s point of view demonstrate the impact upon the individual child of a society’s suppression of the silence and violence within the home, school and church. My memoir is accompanied by an exegesis which critically examines my creative writing output and practice. My memoir contributes to the development of a young child’s cognition and its development through to adulthood. It is a contribution to an evolving body of memoir in response to social and familial conditions in mid-twentieth century Ireland. 3 Patrick Doherty PhD Creative Writing February 2020 TABLE OF CONTENTS Abstract P. -
Sheet Music Collection
The Filson Historical Society Sheet Music Index [some of this material is available through the Library Catalog] 1 Item # BOX TITLE COMPOSER PUBLISHER PLACE DATE LITH/ENGR/PRINT ARRANGER 0003 1 Take me back home Hays, Will S. J. L. Peters & Co. 1866 (unknown) 0005 1 Driven from home Hays, Will S. John L. Peters 1868 Ehrgott & Krebs 0007 1 Evangeline Hays, Will S. S. Brainard & Sons UNK Ehrgott, Forbriger & Co. 0008 1 Little old cabin in the lane, The Hays, Will S. J. L. Peters 1871 (unknown) 0011 1 Transylvanians Harness, Camilla Alves Soc. of Transylvanians 1931 (unknown) 0012 1 Astoria waltz Smith, J. Adams H. J. Peters & Co. 1847 R. W. Tone 0015 1 Missouri waltz Weber, C. H. H. J. Peters & Co. 1845- R. W. Tone 46 0017 1 Matilda waltz, The Prox, Carl Bon Ton Office UNK Milne & Bruder 0018 1 Mexicana danse, La Wallace, William Vincent James L. Hewitt & Co. 1836- G. W. Quidor 43 0023 1 Young America polka Johnson, C. W. James D. Sheppard 1853 T. Birch & Son 0024 1 Thalia waltz Balmer, Charles W. C. Peters 1843 George W. Quidor 0025 1 Miller's maid waltz, The Barker, Theodore T. G. P. Reed 1845 (unknown) 0026 1 Belle Fanny waltz, La Bull, Ole G. P. Reed 1839 (unknown) 0027 1 Alliance, L' Hunten, Francois Hewitt & Jaques 1837? G. W. Quidor 0028 1 Azalia waltz Beethoven, Ludwig van Firth & Hall 1834? (unknown) 0029 1 New Brighton galop Masak James L. Hewitt & Co. 1836- G. W. Quidor 41 0030 1 Luna waltz, The Gunter, E.