Groves of blarney. [music] : last rose of summer /

Distributor from stamp on cover.

Irish rhapsody no. 4, in A minor. "The fisherman of Lough Neagh and what he saw." For full orchestra. Op. 141.

Facsim. of the composer's holograph.

Grand concertante duet : for harp & piano forte on a favorite Irish and Neapolitan air /

Mode of access: Internet.

Ballads of Irish chivalry /

Includes music.

Historical memoirs of the Irish bards.

Vol. 2, has added t.-p: A historical essay on the dress of the ancient and modern Irish ... to which is subjoined a memoir on the armour and weapons of the Irish ...

Irish songs; a collection of airs old and new;

Mode of access: Internet.

Songs of Ireland : 100 most popular Irish songs /

For voice and piano.

Plays in prose and verse : written for an Irish theatre, and generally with the help of a friend /

"Music for plays", p. 433-447.

Kevin Barry and the Anglo-Irish Propaganda War

Most Irish people, when asked what they know of the life and death of Kevin Barry, will pause for a moment while they recall the words of a famously maudlin ballad. A few points will emerge: ‘a lad of eighteen summers’ … ‘British soldiers tortured Barry’ … ‘refused to turn informer’ … ‘hanged him like a dog’ … ‘another martyr for old Ireland, another murder for the crown’. That they know anything at all about Kevin Barry is testimony, among other things, to the power of popular music for the making of political propaganda. Along with Father Murphy, Seán South and Fergal O’Hanlon, Kevin Barry figures in the pantheon of nationalist Ireland’s popular historical heroes, largely because somebody happened to write a good song about him. In many ways this is unfortunate, for Barry and the rest were once living people, and the process of iconographifying them in popular balladry, like all forms of political propaganda, serves not to clarify their roles in the historical events in which they played a part, but rather to obscure and distort them. So it is worth reconsidering the story of Kevin Barry, for a number of reasons. To begin with, his short life reached its climax at a vital moment in the long struggle for Irish self-government, a moment when the violence unleashed in 1916 burst forth again with renewed savagery on both British and Irish sides, involving in the Barry case the deaths of four young men aged between fifteen and twenty.

Let The People Sing? Irish Rebel Songs, Sectarianism, and Scotland’s Offensive Behaviour Act

Irish rebel songs afford Scotland’s Irish diaspora a means to assert, experience, and perform their alterity free from the complexities of the Irish language. Yet this benign intent can be offset by how the music is perceived by elements of Scotland’s majority Protestant population. The Scottish Government’s Offensive Behaviour Act (2012) has been used to prosecute those singing Irish rebel songs and there is continuing debate as to how this alleged offence should be dealt with. This article explores the social function and cultural perception of Irish rebel songs in the west coast of Scotland, examining what qualities lead to a song being perceived as ‘sectarian’, by focusing on song lyrics, performance context, and extra-musical discourse. The article explores the practice of lyrical ‘add-ins’ that inflect the meaning of key songs, and argues that the sectarianism of a song resides, at least in part, in the perception of the listener.