The Enraged Musician

Barlow, a scholar of English popular music of the sixteenth to eighteenth centuries, studies the musical references in the paintings of William Hogarth (1697-1764). He first describes the context of British musical life during the eighteenth century, and what spawned Hogarth's interest in music. What follows is a consideration of musical iconography in his paintings, particularly issues in using them for making conclusions about performance practice. Barlow analyzes burlesque music as well as the influence of solo fiddlers, ballad singers, and Samuel Butler's Hudibras on Hogarth's satirical style. Two works, The Beggar's Opera and The Enraged Musician, are detailed in the final chapters. Incorporated in the text are b&w images of sketches and paintings, photos of instruments, and an annotated index of works where they appear. Text and musical examples related to Hogarth's works are provided in the appendices, including a facsimile from John Gay's The Beggar's Opera. Annotation c2006 Book News, Inc., Portland, OR (booknews.com)

Jeremy Barlow has made a special study of English popular music from the 16th to 18th centuries. His many publications in this field include The Music of John Gaya€?s The Beggara€?s Opera (Oxford University Press) and The Complete Country Dance Tunes from Playforda€?s Dancing Master, c.1651-1728 (Faber Music). More than a dozen recordings with his group the Broadside Band include the complete Beggara€?s Opera (Hyperion), which won an Edison award. He lectures widely on subjects linking art and music.