Collecting Irish Song, 1797–1855
Bibliographic Data
| ID | 23448152 |
|---|---|
| Authors | Sinéad Sturgeon (Queen's University Belfast, corresponding author) |
| Year | 2023 |
| Publication date | 2023-01-26 |
| Peer Reviewed | Yes |
| Open Access | No |
| Type | CHAPTER |
| Venue | The Oxford Handbook of Irish Song from the Earliest Beginnings to 1850 (SOURCE_BOOK) |
| Publisher | Oxford University Press (PUBLISHER • GB) |
| DOI | 10.1093/oxfordhb/9780190859671.013.36 |
| OpenAlex | W4318316101 |
| ISBN | 9780190859671 |
| Language | EN |
| References cited | 5 |
In the wake of the 1792 Belfast Harp Festival and Edward Bunting’s associated publication, A general collection of the ancient Irish music [...] (1797), popular interest in Irish song, little of which had been committed to paper, grew rapidly. While song collecting became a widespread activity in the period, this chapter focuses on a small number of outstanding collectors—James Hardiman (1782–1855), George Petrie (1790–1866), Henry Hudson (1798–1889), John Edward Pigot (1822–1871), and William Forde (1797-1850)—whose work was not only important in preserving Ireland’s extraordinarily rich song tradition but also influential in shaping its increasingly politicized relation to the perception of national identity.
Aesthetics · Art · Art history · George (robot) · Identity (music) · Irish · Media studies · National identity · Performance art · Period (music) · Political science · Politics · Relation (database) · Sociology · Visual arts · Diverse Musicological Studies · History · Law · Philippine History and Culture · Philosophy · Theater, Performance, and Music History
| Citation velocity | historical |
|---|---|
| Highly cited | No |