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 Gay’s The Beggar’s Opera (Oxford University Press) and The Complete Country Dance Tunes from Playford’s Dancing Master, c.1651-1728 (Faber Music). More than a dozen recordings with his group the Broadside Band include the complete Beggar’s Opera (Hyperion), which won an Edison award. He lectures widely on subjects linking art and music.

• Contents: Preface; Chronology; Five Hogarth series summarized; Hogarth and the musical scene; Music in Hogarth's scenes; Rough music; Burlesque music; Solo fiddlers; Ballad singers and ballads; The Beggar's Opera and Italian opera; Hogarth's The Enraged Musician; Annotated index of Hogarth's instruments and musical scores; Appendices; Bibliography; Indexes.

'It is extraordinary that this is the first book on Hogarth and music, when, as Jeremy Barlow points out, his art is filled with music and musicians. What Barlow is able to demonstrate is that the tensions in Hogarth's own art between morality and freedom, high art and the popular, and the life of the street and of the academy, are played out with powerful effect in his representations of music in all its forms. Barlow meticulously avoids the fallacy of assuming the 'truth' of Hogarth's views of London to show that music engaged the artist's intellect fully. This is a really important book and one of the most original to appear on the artist for a long time.' Professor David Bindman, Durning-Lawrence Professor of the History of Art, University College London, UK 'The principal readership will be from those whose interests lie in the works of Hogarth, relevant connected areas of art history, 18th-century London political and social history, and musicians with an interest in 18th-century London performance and repertory. The book makes an important contribution to the literature about 18th-century musical instruments and the evidence for their manner of performance. Particularly original is the treatment of 'popular' instruments in Chapter 3, which has not previously been covered in this way, or with this degree of scholarly seriousness. As well as containing substantial new material, the book examines previously explored topics from new perspectives and in greater depth.' Professor Donald Burrows, Music Department, The Open University, UK 'Barlow is familiar with the worlds of the musicologist (and musician), the historian and the art historian and draws on them with aplomb and skill.' Early Music Review 'For the first time this obviously important feature of Hogarth's work becomes the subject of a book-length study... the book will not only be of interest to Hogarth enthusiasts bu also to students of the history of music and popular culture.' Arlis '... Ashgat