This thesis offers the first comprehensive study of the song collections of Ina Boyle (1889– 1967). Its primary aim is to contribute to the growing body of research on one of Ireland’s most prolific composers by conducting an analytical survey of a hitherto unexplored genre of her compositional output. The thesis opens with a contextualisation of Boyle’s critical and posthumous reception to give a reappraisal of her musical legacy. Through this reappraisal, it assesses the trajectory of the composer’s career development in light of the cultural attitudes, gender-normative roles, and socio-political upheavals of the last century in Ireland. It proposes six factors to have impeded publications and performances of her music, as derived from primary sources, including diary entries, ephemera, and memoranda. It also considers the present-day reception of Boyle’s music, interrogating both her status within the canon of Irish art music today and the extent to which her music has experienced a revival. For the most-part, the composer’s song collections existed as unpublished handwritten scores held in the archives of Trinity College Dublin. The thesis contains new typeset critical editions of these scores, allowing for the first analysis of their contents and for a survey of Boyle’s vocal output over her long compositional career. It presents an evaluation of the composer’s text-setting techniques using an analytical framework established by Peter F. Stacey and draws on the six criteria of this framework to critically examine her output of song collections with a focus on musico-poetic associations. From this analysis, the idiosyncratic nuances and developments of her writing style are uncovered, and a new appreciation for Boyle’s compositional voice realised.