First published in 1994. This study sets out to investigate English opera from 1834 to 1864. The author attempts to understand the circumstances influencing the development of English nineteenth-century opera, its characteristic features, and the reasons why these traits held sway. This title will be of great interest to students of art and cultural history.

Opens up significant paths for conversation about how musical concepts, practices and products were shaped by interrelationships between culture and commerce. Art and money, culture and commerce, have long been seen as uncomfortable bedfellows. Indeed, the connections between them have tended to resist full investigation, particularly in the musical sphere. The Idea of Art Music in aCommercial World, 1800-1930, is a collection of essays that present fresh insights into the ways in which art music, i.e., classical music, functioned beyond its newly established aesthetic purpose (art for art's sake) and intersected with commercial agendas in nineteenth- and early twentieth-century culture. Understanding how art music was portrayed and perceived in a modernizing marketplace, and how culture and commerce interacted, are the book's main goals. In this volume, international scholars from musicology and other disciplines address a range of unexplored topics, including the relationship of sacred music with commerce in the mid nineteenth century, the roleof music in urban cultural development in the early twentieth, and the marketing of musical repertories, performers and instruments across time and place, to investigate what happened once art music began to be understood as needing to exist within the wider framework of commercially oriented culture. Historical case studies present contrasting topics and themes that not only vary geographically and ideologically but also overlap in significant ways, pushing back the boundaries of the 'music as commerce' discussion. Through diverse, multidisciplinary approaches, the volume opens up significant paths for conversation about how musical concepts, practices and products were shaped byinterrelationships between culture and commerce. CHRISTINA BASHFORD is Associate Professor of Musicology at the University of Illinois. ROBERTA MONTEMORRA MARVIN is Director of the Opera Studies Forum in the Obermann Center for Advanced Studies at the University of Iowa, where she is also on the faculty. CONTRIBUTORS: Christina Bashford, George Biddlecombe, Denise Gallo, David Gramit, Catherine Hennessy Wolter, Roberta Montemorra Marvin, Fiona Palmer, Jann Pasler, Michela Ronzani, Jon Solomon, Jeffrey S. Sposato, Nicholas Vazsonyi, David Wright

First published in 1994. This study sets out to investigate English opera from 1834 to 1864. The author attempts to understand the circumstances influencing the development of English nineteenth-century opera, its characteristic features, and the reasons why these traits held sway. This title will be of great interest to students of art and cultural history.

2012 Reprint of 1925 Edition. Exact facsimile of the original edition, not reproduced with Optical Recognition Software. Although mastery of the art of rigging is no longer required on board ships today, serious model builders need to learn this art in miniature. The book is widely considered the best manual every produced on rigging the sail ship. This edition is based on the 1925 revision of the original work first published in 1848. Biddlecombe, a Master in the Royal Navy and former merchant seaman, was the author of the first edition. Biddlecombe divides his work into five parts: (1) Alphabetical Explanation of the Terms and Phrases used in Rigging. (2) Directions for the Performing of Operations Incidental to Rigging, and for Preparing It on Shore. (3) Progressive Method of Rigging Ships. (4) Description of Reeving the Running Rigging and Bending the Sails. (5) Tables of the Quantities and Dimensions of the Standing and Running Rigging of Ships, Brigs, Fore-and-Aft Schooners, and Cutters, etc.