Abstract
This chapter outlines the working methods of the prolific writer and lyricist Thomas Moore—which were characterized by the unfortunate combination of a perfectionist streak, a tendency to release material to the publishers while still in the creative mode, and a tendency to re-visit previously-published material. The Gibson-Massie Moore collection at Queen's University Belfast teaches us a great deal about Moore’s creative processes, and also records the nineteenth-century publishing industry’s response to one of its most prolific and popular creative artists. This chapter is illustrated by an online Exhibition, the 'Thomas Moore Project', Digital Collections, Special Collections, McClay library (see URL below).
| Original language | English |
|---|---|
| Title of host publication | Cheap Print and Popular Song in the Nineteenth Century |
| Subtitle of host publication | A Cultural History of the Songster |
| Editors | Paul Watt, Derek Scott, Patrick Spedding |
| Place of Publication | Cambridge |
| Publisher | Cambridge University Press |
| Pages | 47-70 |
| Number of pages | 24 |
| ISBN (Electronic) | 9781316672037 |
| ISBN (Print) | 9781107159914 |
| DOIs | |
| Publication status | Published - 31 Mar 2017 |
Bibliographical note
I am the contributor of one essay in this collection.Keywords
- publishing practices
- creative processes
- romantic period
- romantic song
ASJC Scopus subject areas
- Arts and Humanities(all)
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Cite this
McCleave, S. (2017). 'The Genesis of Thomas Moore's Irish Melodies, 1808-1834'. In P. Watt, D. Scott, & P. Spedding (Eds.), Cheap Print and Popular Song in the Nineteenth Century: A Cultural History of the Songster (pp. 47-70). Cambridge University Press. https://doi.org/10.1017/9781316672037, https://doi.org/10.1017/9781316672037