Overview

Full Product Details

9781840146158

Table of Contents

Reviews

'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 '... Ashgate is to be commended for providing over 200 large, crisp, clear illustrations, a spacious layout and high-quality paper... Barlow has returned with an illuminating and fascinating social history of the roles of rough music, burlesque music, and popular and rustic instruments and their players in Georgian culture.' Early Music '... with an overarching theme concerning the status of music as an art form, this collection offers numerous new insights into the entire domain of early modern music, its theory and its performance... To be well prepared, any musician venturing into Hogarth country will want Jeremy Barlow's field guide by their side.' Early Music Today '... an original and intriguing work...This pioneering, impressive, and meticulous piece of work will be read and re-read, its illustrations examined and re-examined, with great pleasure and profit by those interested in art, literature, or music - or all three.' Folk Music Journal 'Barlow uses his knowledge of eighteenth-century musical instruments and musical practice to demonstrate how Hogarth reinforces his satire in ways that most modern viewers have overlooked... This informative book is a helpful addition to Hogarth studies, enlarging on the artist's well-known links with theatre and stage performance by knowledgeable and detailed analysis of the musical life of the period.' Print Quarterly 'Jeremy Barlow's deep experience with the music and musical life of eighteenth-century London makes him a learned guide on this journey into Hogarth's musical imagery. For those interested in Hogarth's works, in musical imagery in art and in eighteenth-century English customs and culture this is a fascinating read and an excellent source.' The Art Book 'What distinguishes Barlow's particular interest in Hogarth is the author's ability to bring his own expertise to bear upon a subject that might otherwise be an academic playground for vacuous speculation and posturing... the author has followed his instincts and come up with an outstanding book which both demonstrates his command of 18th-century popular musicology and print culture and his determination to present his ideas in an entirely jargon-free zone - for which we should be truly grateful ...a master-class in the appreciation of popular music in Georgian society as a whole...' British Art Journal 'The supporting material is excellent and will be of enduring value... The book is very thoroughly and thoughtfully illustrated with monochrome images of very high quality...' The Scriblerian 'Barlow's scholarly and original investigation into Hogarth's satiric depictions of musical life makes a major contribution to the study of musical iconology and performance practice in eighteenth-century England ... Musicologists and others interested in eighteenth-century musical life will find this a fascinating and eminently readable book... Thanks to the copious amounts of information that Barlow has uncovered through his meticulous research, mu

'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

Author Information

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.

Tab Content 6

Customer Reviews

Recent Reviews

Countries Available