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.