Jeremy Barlow specialises in English popular and dance music from 1550 to 1750, and also has a particular interest in the illustration of music and social dance over the centuries.

Lectures on a variety of subjects linking music and art are much in demand from organisations such as the National Association of Decorative and Fine Art Societies (NADFAS), U3A, the Art Fund and National Trust; Jeremy Barlow has toured widely in Britain, Europe, Australia and New Zealand.

Books on musical topics range from the scholarly – including The Enraged Musician: Hogarth’s Musical Imagery (Ashgate) and The Stage’s Glory: John Rich, 1692-1761, co-edited with Berta Joncus (University of Delaware Press) – to the humorous: The Cat & the Fiddle: Images of Musical Humour from the Middle Ages to Modern Times (Bodleian Library) and Forged Notes: Tricks of the trade in early music performance and promotion (Forged Notes Press). The Bodleian Library has also published A Dance Through Time: Images of Western Social Dancing from the Middle Ages to Modern Times. Editions include The Complete Country Dance Tunes from Playford’s Dancing Master (1651-ca.1728) (Faber Music) and The Music of John Gay’s The Beggar’s Opera (Oxford University Press).

The Broadside Band has performed at major venues and festivals in England, Scotland, France, Austria, Germany and Sweden and has made many recordings for Harmonia Mundi, Hyperion, Saydisc etc. These include the Edison Award winning Beggar’s Opera featuring Bob Hoskins and Sarah Walker, English Country Dances, Old English Nursery Rhymes and Songs and Dances from Shakespeare.

About Jeremy Barlow

Jeremy Barlow

After studying at Trinity College Cambridge and the Royal Academy of Music, Jeremy Barlow worked at first chiefly in the theatre as a musical director, flautist and composer, and at the BBC as a radio producer and broadcaster. He then focused increasingly on early music as a performer, playing baroque flute, recorder and harpsichord, and directing the Broadside Band from 1979.

Jeremy has worked closely with historical dancers on several of his recordings with the Broadside Band and has also been involved in many projects, seminars and conferences on the links between historical dance and music. He is president of the Dolmetsch Foundation.