Pending the desirable work of a more competent Brehon Law Commission and translators, the subject must be studied in the six volumes of Ancient Laws of Ireland, produced by the first Commission, from 1865 to 1901, ignoring the long introductions and many of the notes. Whitley Stokes: Criticism of Atkinson's Glossary (London, 1903); R. Dareste: Etudes d'histoire de droit (Paris, 1889); d'Arbois de Jubainville and Paul Collinet: Etudes sur le droit celtique, 2 vols. (Paris, 1895); Joyce: Social History of Ancient Ireland, 2 vols. (London, 1913); Laurence Ginnell: The Brehon Laws (London, 1894).
IRISH MUSIC
By W.H. GRATTAN FLOOD, Mus. D., M.R.I.A., K.S.G.
Perhaps nothing so strikingly brings home the association of Ireland with music as the fact that the harp is emblazoned on the national arms. Ireland, "the mother of sweet singers", as Pope writes; Ireland, "where", according to St. Columcille, "the clerics sing like the birds"; Ireland can proudly point to a musical history of over 2,000 years. The Milesians, the De Dananns, and other pre-Christian colonists were musical. Hecataeus (B.C. 540-475) describes the Celts of Ireland as singing songs to the harp in praise of Apollo, and Aethicus of Istria, a Christian philosopher of the early fourth century, describes the culture of the Irish. Certain it is that, even before the coming of St. Patrick, the Irish were a highly cultured nation, and the national Apostle utilized music and song in his work of conversion. In the early Lives of the Irish Saints musical references abound, and the Irish school of music attracted foreign scholars from the sixth to the ninth century.
Hymnologists are familiar with the hymns written by early Irish saints and laics, e.g., St. Sechnall, St. Columcille, St. Molaise, St. Cuchuimne, St. Columbanus, St. Ultan, St. Colman, St. Cummain, St. Aengus, Dungal, Sedulius, Moengal, and others. Who has not heard of the great music school of San Gallen, founded by St. Gall, "the wonder and delight of Europe," whither flocked German students? One of the Irish monks, Tuathal (Tutilo), composed numerous sacred pieces, including the famous farced Kyrie, "Fons bonitatis", included in the Vatican edition of the Kyriale (1906). Not alone did Irish monks propagate sacred and secular music throughout France, Italy, Switzerland, Austria, Germany, and the far North, but they made their influence felt In Lindisfarne, Malmesbury, Glastonbury, and other cities in England, as also in Scotland. St. Aldhelm, one of the pupils of St. Maeldubh, tells us that at the close of the seventh century, "Ireland, synonymous with learning, literally blazed like the stars of the firmament with the glory of her scholars."
During the ninth century we meet with twelve different forms of instruments in use by the Irish, namely:—the Cruit and Clairseach (small and large harp); Timpan (Rotta or bowed cruit); Buinne (oboe or bassoon); Bennbuabhal and Corn (horn); Cuisleanna and Piob (bagpipes); Feadan (flute or fife); Guthbuinne (bass horn); Stoc and Sturgan (trumpet); Pipai (single and double pipes); Craoibh cuil and Crann cuil (cymbalum); Cnamha (castanet); and Fidil (fiddle). The so-called "Brian Boru's Harp" really dates from the thirteenth century, and is now in Trinity College, Dublin, but there are numerous sculptured harps of the ninth and tenth centuries on the crosses at Graig, Ullard, Clonmacnois, Durrow, and Monasterboice.
Donnchadh, an Irish bishop of the ninth century, who died as abbot of St. Remigius, wrote a commentary on Martianus Capella, a well-known musical text book. Towering above all his fellows, John Scotus Erigena, in 867, wrote a tract De Divisione Naturae, in which he expounds organum or discant, nearly a hundred years before the appearance of the Scholia Enchiriadis and the Musica Enchiriadis. He also wrote a commentary on Martianus Capella, now in a Paris MS. of the ninth century.
The eulogy of Giraldus Cambrensis, or Gerald Barry, who came to Ireland in 1183, on Irish harpers and minstrels is too well known to be repeated, but Brompton and John of Salisbury are equally enthusiastic. Ground bass, or pedal point, and singing in parts, as well as bands of harpers and pipers, were in vogue in Ireland before the coming of the English. Dante, quoted by Galilei, testifies to the fact that Italy received the harp from Ireland; and, it may be added, the Irish harp suggested the pianoforte. In the Anglo-Norman ballad, "The Entrenchment of New Ross"—in 1265—allusion is made to pipes and flutes, and carols and dancing. Another poem, dating from about 1320, refers to Irish dances in a flattering manner.
John Garland (1190-1264) wrote a treatise on Organum, and outlined a scheme of dividing the interval, which developed into ornamentation, passing notes, and grace notes. The Dublin Troper of the thirteenth century has a number of farced Kyries and Glorias, also a collection of Sequences. A Dublin Processionale of the fourteenth century contains the most elaborate form of the Officium Sepulchri, with musical notation on a four-line stave—the foundation of the Miracle Play of the Resurrection. Another Dublin Troper dates from 1360 and was used in St. Patrick's Cathedral. It contains the hymn, "Angelus ad Virginem", alluded to by Chaucer. The Christ Church Psaltery, about 1370, has musical notation and is exquisitely illuminated. Lionel Power, an Anglo-Irishman, wrote the first English treatise on music in 1395. Exactly a century later, in 1495, a music school was founded in Christ Church Cathedral, Dublin.