Scientific thinking has long been linked to music theory and instrument making, yet the profound and often surprising intersections between the sciences and opera during the long nineteenth century are here explored for the first time. These touch on a wide variety of topics, including vocal physiology, theories of listening and sensory communication, technologies of theatrical machinery and discourses of biological degeneration. Taken together, the chapters reveal an intertwined cultural history that extends from backstage hydraulics to drawing-room hypnotism, and from laryngoscopy to theatrical aeronautics. Situated at the intersection of opera studies and the history of science, the book therefore offers a novel and illuminating set of case studies, of a kind that will appeal to historians of both science and opera, and of European culture more generally from the French Revolution to the end of the Victorian period.

Beethoven and Rossini have always been more than a pair of famous composers. Even during their lifetimes, they were well on the way to becoming 'Beethoven and Rossini' - a symbolic duo, who represented a contrast fundamental to Western music. This contrast was to shape the composition, performance, reception and historiography of music throughout the nineteenth and twentieth centuries. The Invention of Beethoven and Rossini puts leading scholars of opera and instrumental music into dialogue with each other, with the aim of unpicking the origins, consequences and fallacies of the opposition between the two composers and what they came to represent. In fifteen chapters, contributors explore topics ranging from the concert lives of early nineteenth-century capitals to the mythmaking of early cinema, and from the close analysis of individual works by Beethoven and Rossini to the cultural politics of nineteenth-century music histories.

Best remembered for such light-hearted works as Il barbiere di Siviglia, Gioachino Rossini produced a sequence of large-scale serious French operas after his move to Paris in 1824 which overwhelmed audiences with their musical power, and responded to the French Restoration. Rather than presenting a traditional account of Rossini's life and works, Benjamin Walton traces instead the shifting patterns of Rossinian criticism from before the composer's arrival in Paris to the end of the 1820s, outlining a type of musical history that uses immersion in a narrow time period as a way to reconceive the relationships between opera and the wider currents of life outside the opera house. In place of the comic Rossini of later memory, this book argues for a composer whose music resonated with the experience of contemporary life, and was integrally bound up in the struggle to define French romanticism at the time.

This is the first book dedicated to providing exam practice in the new required single best answer question style for the FRCA. It contains 300 single best answer multiple choice questions and advice on how to approach revision and sitting the exam. There are also four 75-question exam papers, each with an answer section containing detailed explanations of the reasoning behind the answer and providing background information about each topic. SBAs for the Final FRCA may be used for examination practice and as a source of knowledge on many of the key topics in the syllabus. From the writing team behind SAQs for the Final FRCA, this book uses a similar style of challenging questions and well researched explanations to help the candidate through the new FRCA written paper. This is an invaluable tool for your exam preparation.

Following the introduction in 2013 of the FFICM exam for trainees in intensive care, this book provides candidates with practice materials for the MCQ section. Written by a team of specialists in intensive care medicine, including senior trainees who have recently passed the new exam and authors of the popular FRCAQ website, the book contains 270 multiple true-false questions that cover the breadth of the current Faculty of Intensive Care Medicine curriculum. These are presented as three 90-question practice papers, providing candidates with a faithful simulation of the style, standard and format of the questions they will encounter. With short and long explanations for each question, presented with up-to-date references for extended reading, this book is both an ideal tool for in-depth exam preparation, and an excellent resource for practising consultants in intensive care medicine. It is also suitable for candidates taking the EDIC and other intensive care exams worldwide.

Preparing for the Final FRCA? Wondering what to expect of the SBA questions? Help is at hand. This practical book contains 60 single best answer and 120 multiple true/false questions to help you revise for the Final FRCA MCQ exam. Each question is accompanied by detailed explanations, giving additional information on each topic to enhance revision. SBA and MTF MCQs for the Final FRCA may be used both for examination practice and as a source of knowledge on many of the key topics in the syllabus. A helpful introductory section gives practical advice on how to approach revision and sitting the exam. From the writing team behind the FRCAQ.com website (www.frcaq.com), an outstanding exam preparation source for both the Primary and Final FRCA, this book provides challenging questions and well researched explanations to help you through the Final FRCA MCQ paper. An invaluable tool for your MCQ exam preparation.

Scientific thinking has long been linked to music theory and instrument making, yet the profound and often surprising intersections between the sciences and opera during the long nineteenth century are here explored for the first time. These touch on a wide variety of topics, including vocal physiology, theories of listening and sensory communication, technologies of theatrical machinery and discourses of biological degeneration. Taken together, the chapters reveal an intertwined cultural history that extends from backstage hydraulics to drawing-room hypnotism, and from laryngoscopy to theatrical aeronautics. Situated at the intersection of opera studies and the history of science, the book therefore offers a novel and illuminating set of case studies, of a kind that will appeal to historians of both science and opera, and of European culture more generally from the French Revolution to the end of the Victorian period.

Preparing for the Primary FRCA? Wondering what to expect of the new SBA questions? Help is at hand. This practical book contains 60 single best answer and 120 multiple true/false questions to help you revise for the Primary FRCA MCQ exam. Each question is accompanied by detailed explanations, giving additional information on each topic to enhance revision. SBA and MTF MCQs for the Primary FRCA may be used both for examination practice and as a source of knowledge on many of the key topics in the syllabus. A helpful introductory section gives practical advice on how to approach revision and sitting the exam. From the writing team behind the FRCAQ website (www.frcaq.com), SAQs for the Final FRCA and SBAs for the Final FRCA, this book provides challenging questions and well researched explanations to help you through the Primary FRCA MCQ paper. An invaluable tool for your MCQ exam preparation.

SAQs for the Final FRCA is an invaluable guide to the Short Answer Question paper for the Final FRCA examination, providing 9 papers of 12 questions per paper. Each question is accompanied by a full model answer structured using a star system to indicate the essential, desirable and supplementary information. Most answers also carry references and additional notes giving insight into why a question was written or what the examiner was really after. A highly informative FAQ section gives advice on all aspects of exam preparation. The book is laid out to enable the candidate to practise sitting whole papers of 12 questions or to attempt individual questions. Written by a group of authors who have either just successfully taken the Final FRCA or are regularly involved with training anaesthetists via the Frenchay Final FRCA Crammer Course, SAQs for the Final FRCA is an invaluable tool for your exam preparation!

This is the first dedicated revision aid for the Single Best Answer component of the Final FFICM, added to the written examination in July 2014. It contains 240 SBA practice questions, divided into eight papers covering the Faculty of Intensive Care Medicine curriculum. Each answer consists of a short explanation, allowing a quick review of the correct answer, and a long explanation, providing a more in-depth discussion of the question topic. All answers are also fully referenced, encouraging further reading and providing sources for more detailed study. In combination with the companion volume, Multiple True False Questions for the Final FFICM, this guide allows readers to access full written mock exams in the style and format of the official FFICM examination, and is an invaluable resource for trainees in intensive care medicine.

Beethoven and Rossini have always been more than a pair of famous composers. Even during their lifetimes, they were well on the way to becoming 'Beethoven and Rossini' - a symbolic duo, who represented a contrast fundamental to Western music. This contrast was to shape the composition, performance, reception and historiography of music throughout the nineteenth and twentieth centuries. The Invention of Beethoven and Rossini puts leading scholars of opera and instrumental music into dialogue with each other, with the aim of unpicking the origins, consequences and fallacies of the opposition between the two composers and what they came to represent. In fifteen chapters, contributors explore topics ranging from the concert lives of early nineteenth-century capitals to the mythmaking of early cinema, and from the close analysis of individual works by Beethoven and Rossini to the cultural politics of nineteenth-century music histories.

Best remembered today for such light-hearted works as Il barbiere di Siviglia, Gioachino Rossini produced a sequence of large-scale serious French operas after his move to Paris in 1824 which overwhelmed audiences with their musical power, and responded to the French Restoration. Rather than presenting a traditional account of Rossini's life and works, Benjamin Walton traces instead the shifting patterns of Rossinian criticism from before the composer's arrival in Paris to the end of the 1820s, outlining a type of musical history that uses immersion in a narrow time period as a way to reconceive the relationships between opera and the wider currents of life outside the opera house. In place of the comic Rossini of later memory, this book argues for a composer whose music resonated with the experience of contemporary life, and was integrally bound up in the struggle to define French romanticism at the time.