From the most remote times the Irish took great pleasure in music: and they studied and cultivated it so successfully that they became celebrated every where for their musical skill. Irish teachers of this art were thought so highly of that from about the seventh to the eleventh century, or later, they were employed in colleges and schools in Great Britain and on the Continent, like Irish professors of other branches of learning (see p. 47). Many of the early missionaries took great delight in playing on the harp, so that some brought a small harp with them on their journeys through the country, which no doubt lightened many a weary hour at their homes in the evenings, during the time of hard missionary work. In our oldest manuscript books, music is continually mentioned: and musicians are spoken of with respect and admiration.

The two chief instruments used in Ireland were the harp and the bagpipe. The harp was the favourite with the higher classes, many of whom played it as an accomplishment, as people now play the piano. The professional Irish harpers were more skilful, and could play better, than those of any other country: so that for hundreds of years it was the custom for the musicians of Great Britain to visit Ireland in order to finish their musical education; a custom which continued down to about a century and a-half ago.

The bagpipe was very generally used among the lower classes of people. The form in use was what we now call the Highland or Scotch pipes—slung from the shoulder: the bag inflated by the mouth. But this form of pipes took its rise in Ireland: and it was brought to Scotland in early ages by those Irish colonists already spoken of (page 5). There is another and a better kind of bagpipes, now common in Ireland, resting on the lap when in use, and having the bag inflated by a bellows: but this is a late invention.

The Irish musicians had various "Styles," three of which are very often mentioned in tales and other ancient Irish writings: of these many specimens have come down to the present day. The style they called "Mirth-music" consisted of lively airs, which excited to merriment and laughter. These are represented by our present dance tunes, such as jigs, reels, hornpipes, and other such quick, spirited pieces which are known so well in every part of Ireland. The "Sorrow-music" was slow and sad, and was always sung on the occasion of a death. We have many airs belonging to this style, which are now commonly called Keens, i.e., laments, or dirges. The "Sleep-music" was intended to produce sleep; and the tunes belonging to this style were plaintive and soothing. Such airs are now known as lullabies, or nurse tunes, or cradle songs, of which numerous examples are preserved in collections of Irish music. They were often sung to put children to sleep. Though there are, as has been said, many tunes belonging to these three classes, they form only a small part of the great body of Irish music.

Music entered into many of the daily occupations of the people. There were special spinning-wheel songs, which the women sang, with words, in chorus or in dialogue, when employed in spinning. At milking time the girls were in the habit of chanting a particular sort of air, in a low gentle voice. These milking songs were slow and plaintive, something like the nurse tunes, and had the effect of soothing the cows and of making them submit more gently to be milked. This practice was common down to fifty or sixty years ago; and many people now living can remember seeing cows grow restless when the song was interrupted, and become again quiet and placid when it was resumed. While ploughmen were at their work they whistled a sweet, slow, and sad strain, which had as powerful an effect in soothing the horses at their hard work as the milking songs had on the cows: and these also were quite usual till about half a century ago.

Special airs and songs were used during working time by smiths, by weavers, and by boatmen. There were besides, hymn tunes; and young people had simple airs for all sorts of games and sports. In most cases words suitable to the several occasions were sung with lullabies, laments, and occupation tunes. The poem at page 82 may be taken as a specimen of a lament. Examples of all the preceding classes of melodies will be found in the collections of Irish airs by Bunting, Petrie, and Joyce.

The Irish had numerous war-marches, which the pipers played at the head of the clansmen when marching to battle, and which inspired them with courage and dash for the fight. This custom is still kept up by the Scotch; and many fine battle-tunes are printed in Irish and Scotch collections of national music.

From the preceding statement we may see how universal was the love of music in former days among the people of Ireland. Though Irish airs, compared with the musical pieces composed in our time, are generally short and simple, they are constructed with such skill, that in regard to most of them it may be truly said that no composer of the present day can produce airs of a similar kind to equal them.

There are half a dozen original collections of Irish music, containing in all between 1000 and 2000 airs: other collections are mostly copied from these. But numerous airs are still sung and played among the people all through Ireland, which have never been written down; and many have been written down which have never been printed. Thomas Moore composed his beautiful songs to old Irish airs; and his whole collection of songs and airs—well known as "Moore's Melodies"—is now published in one small cheap volume.

Of the entire body of Irish airs that are preserved, we know the authors of not more than about one tenth; and these were composed within the last 200 years. Most of the remaining nine tenths have come down from old times. No one now can tell who composed "The Coolin," "Savourneen Dheelish," "Shule Aroon," "Molly Asthore," "Garryowen," "The Boyne Water," "Patrick's Day," "Langolee," "The Blackbird," or "The Girl I left behind me"; and so of many other well-known and lovely airs.

The national music of Ireland and that of Scotland are very like each other, and many airs are common to both countries: but this is only what might be expected, as we know that the Irish and the Highland Scotch were originally one people.