First published in 2007, "Oklahoma!": The Making of an American Musical tells the full story of the beloved Rodgers and Hammerstein musical. Author Tim Carter examines archival materials, manuscripts, and journalism, and the lofty aspirations and mythmaking that surrounded the musical from its very inception. The book made for a watershed moment in the study of the American musical: the first well-researched, serious musical analysis of this landmark show by a musicologist, it was also one of the first biographies of a musical, transforming a field that had previously tended to orient itself around creators rather than creations. In this new and fully revised edition, Carter draws further on recently released sources, including the Rouben Mamoulian Papers at the Library of Congress, with additional correspondence, contracts, and even new versions of the working script used - and annotated - throughout the show's rehearsal process. Carter also focuses on the key players and concepts behind the musical, including the original play on which it was based (Lynn Riggs's Green Grow the Lilacs) and the Theatre Guild's Theresa Helburn and Lawrence Langner, who fatefully brought Rodgers and Hammerstein together for their first collaboration. The crucial new perspectives these revisions and additions provide make this edition of Carter's seminal work a compulsory purchase for all teachers, students, and lovers of musical theater.

A complete behind-the-scenes look at the landmark show that launched Rodgers and Hammerstein's creative partnership Oklahoma! premiered on Broadway in 1943 under the auspices of the Theatre Guild, and today it is performed more frequently than any other Rodgers and Hammerstein musical. In this book Tim Carter offers the first fully documented history of the making of this celebrated American musical. Drawing on research from rare theater archives, manuscripts, journalism, and other sources, Carter records every step in the development of Oklahoma! The book is filled with rich and fascinating details about how Rodgers and Hammerstein first came together, the casting process, how Agnes de Mille became the show's choreographer, and the drafts and revisions that ultimately gave the musical its final shape. Carter also shows the lofty aspirations of both the creators and producers and the mythmaking that surrounded Oklahoma! from its very inception, and demonstrates just what made it part of its times.

This print and digital coursebook helps your students continue to develop their academic English across the four skills (reading, writing, speaking, listening). Developing these skills helps them study across the curriculum in English. They will also hone their academic writing skills and grammar with step-by-step writing activities, structured writing support, examples from a range of model texts and teacher comments. Oracy activities such as debates and discussions help them become confident communicators. Recordings provide listening practice. Regular reflection opportunities, clear learning objectives and end of unit exam-style questions help them feel confident about assessment. Answers are accessed via Cambridge GO.

The Cambridge History of Seventeenth-Century Music provides a fascinating examination of the repertoire, institutions, performers, composers, and social and cultural world which created one of the most crucial and vibrant moments in western music history. The twelve contributors, all leading scholars in their fields, explore the new aspects of composition and performance which took root during this time: the cosmopolitan nature of music making; the emergence of new markets for musical activity at court, in the theatre, church, and academy, as well as domestically; and the proliferation of new musical styles and gestures and their language and meaning. Many chapters also relate the musical developments to broader cultural and conceptual issues of the age. The volume also contains a separate chronology and dictionary-style entries on individuals, places and institutions.

In The Forgiveness of Sins, Tim Carter examines the significance of forgiveness in a New Testament context, delving deep into second-century Christian literature on sin and the role of the early church in mitigating it. This crucial spiritual issue is at the core of what it means to be Christian, and Carter's thorough and erudite examination of this theme is a necessity for any professional or amateur scholar of the early church. Carter's far-reaching analysis begins with St Luke, who is often accused of weakness on the subject of atonement, but who in fact uses the phrase 'forgiveness of sins' more frequently than any other New Testament author. Carter explores patristic writers both heterodox and orthodox, such as Marcion, Justin Martyr and Origen. He also deepens our understanding of Second Temple Judaism and the theological context in which Christian ideas about atonement developed. Useful to both the academic and the pastoral theologian, The Forgiveness of Sins is a painstaking, clear-eyed exploration of what forgiveness meant not only to early Christians such as Tertullian, Irenaeus and Luke, but to Jesus himself, and what it means to Christians today.

This collection of reprinted essays takes the trends of the author's Music, Patronage and Printing in Late Renaissance Florence (also in the 'Variorum' series) in a somewhat different direction. If the focus there was primarily on archival documents, here it is on the actual music. The starting-point is similar - the rise of the 'new music' for solo voice and basso continuo in late sixteenth- and early seventeenth-century Florence, in particular the songs of Giulio Caccini. But it moves on to broader aesthetic issues crystallized in contemporary theoretical debate and musical practice - not least the rise of aria-based styles - and concludes with a series of studies of Claudio Monteverdi's works for the theatre, including the operas Il ritorno d'Ulisse in patria (1640) and the ever-problematic L'incoronazione di Poppea (1643).

Ever since its invention in Florence around 1600, opera has exerted a peculiar fascination for creative artists and audiences alike. A "Western" genre with a global reach, it is often regarded as the pinnacle of high art, where music and drama come together in unique ways, supported by stellar singers and spectacular staging. Yet it is also patently absurd-why should anyone sing on the stage?-and shrouded in mystique. In this engaging and entertaining guide, renowned music scholar Tim Carter unravels its many layers to offer a thorough introduction to Italian opera from the seventeenth to the early-twentieth century. Eschewing the technical music detail that all too often dominates writing on opera, Carter begins instead where the composers themselves did: with the text. Walking readers through the relationship between music and words that lies at the heart of any opera, Carter then offers explorations of five of the most enduring, emblematic, and often performed Italian operas: Monteverdi's The Coronation of Poppaea; Handel's Julius Caesar in Egypt; Mozart's The Marriage of Figaro; Verdi's Rigoletto; and Pucini's La Boheme. Shedding light on the creative collusions and collisions involved in bringing opera to the stage, the various, and varying, demands of its text and music, and the nature of its musical drama, Carter shows how Italian opera has developed over the course of music history. Complete with synopses, cast lists, and suggested further reading for each opera discussed, Understanding Italian Opera is a must-read for anyone with an interest in and love for opera.

Euridice was one of several music-theatrical works commissioned to celebrate the wedding of Maria de' Medici and King Henri IV of France in Florence in October 1600. As the first 'opera' to survive complete, it has been viewed as a landmark work, but its libretto by Ottavio Rinuccini and music by Jacopo Peri and Giulio Caccini have tended to be studied in the abstract rather than as something to be performed in a specific time and place. Staging "Euridice" explores how newly-discovered documents can be used to precisely reconstruct every aspect of its original stage and sets in the room for which it was intended in the Palazzo Pitti. By also taking into account what the singers and instrumentalists did, what the audience saw and heard, and how things changed from creation through rehearsals to performance, this book brings new aspects of Euridice to light in startling ways.

The Cambridge History of Seventeenth-Century Music seeks to provide the most up-to-date knowledge on seventeenth-century music together with a vital questioning of the way in which such a history can be told or put together for our present purposes. Written by a distinguished team of experts in the field, the chapters not only address traditional areas of knowledge such as opera and church music, but also look at the way this extremely diverse and dynamic musical world has been categorised in the past and how its products are viewed from various cultural points of view. While this history does not depart entirely from the traditional study of musical works and their composers, there is a strong emphasis on the institutions, cultures and politics of the age, together with an interrogation of the ways in which music related to contemporary arts, sciences and beliefs.

Discusses the many measures taken in this period to improve seamen's health and fitness. This book examines successive campaigns fought by reformers to improve seamen's health and fitness, sometimes aided by, often opposed by, bureaucracies and vested interests, such as ship-owners. It shows how these campaigns originated; how reformers, bureaucracies and vested interests interacted; and how far the campaigns succeeded. Among the many successes were the controls for infectious diseases such as malaria, yellow fever, tuberculosis and venereal infections; fewer accidents and health problems resulting from alcohol consumption; improvements to diet and medical care aboard ships; and improved assessment of seamen's fitness, including for colour blindness, an essential requirement following the introduction of coloured navigation lights. During this period up to three quarters of all merchant shipping was British-owned and, while some British approaches in the field of maritime safety were widely adopted internationally, it was often the case that other nations could teach Britain much about protecting the health of seamen. Tim Carter recently retired as the Chief Medical Adviser to the UK Maritime and Coastguard Agency. He is a Professor in the Norwegian Centre of Maritime Medicine at the University Hospital in Bergen. Previously he was the Medical Director of the Health and Safety Executive.

This book, originally published in Italian, is a leading biographical study of the greatest composer of late Renaissance and early Baroque Italy. Monteverdi's contribution to secular, sacred and theatrical music in the period was unparalleled: his madrigals, church music and operas remain very much alive today. A large number of contemporary documents, including some 130 of his own letters, offer rich insights into the composer and his times, also illuminating the many and varied contexts for music making in the most important musical centres in Italy. Fabbri uses these documents and other sources to present a rich narrative focusing on a composer who has perhaps rightly been called the 'father of modern music'. This translation brings an indispensable text to a much broader readership, providing a vivid picture of a fascinating period in music history.

Paolo Fabbri's Monteverdi, first published in Italian, is the leading study of the greatest composer of late Renaissance and early Baroque Italy, rightly called the "father of modern music." A large number of contemporary documents, including some 130 of his own letters, offer rich insights into the composer and his times, also illuminating the many and varied contexts for music-making in the most important musical centers in Italy. This newly revised translation brings an indispensable text to a much broader readership.

This analysis of the opera, as well as its social, cultural and musical context, progresses to an exploration of the comic possibilities of the classical style and opera buffa in the 1770s and 1780s.

Carousel (1945), with music by Richard Rodgers and the book and lyrics by Oscar Hammerstein II, was their second collaboration following the surprising success of Oklahoma! (1943). They worked again with Theresa Helburn and Lawrence Langner of the Theatre Guild (producers), Rouben Mamoulian (director), and Agnes de Mille (choreographer). But with Oklahoma! still running to sell-out houses, they needed to do something quite different. Based on a play, Liliom (1909), by the Hungarian playwright Ferenc Molnar, Carousel took Broadway musical theater in far darker directions because of its subject matter-the protagonist, Billy Bigelow, is wholly an anti-hero-and also given its extensive music that some claimed came close to opera. The action is shifted from a gritty working-class suburb of Budapest to the New England coast (Maine), but the themes remain the same as two social misfits try to survive harsh economic times. Billy Bigelow is unemployed, prone to domestic violence, and dies in the course of committing a robbery; Julie Jordan sticks by him through thick and thin; and the show seeks some manner of redemption for both of them as Billy is given a day back on earth to do some good for his wife and their daughter. Troubling though these matters are nowadays, they fit squarely in the context of a country moving through the end of World War II to an uncertain future. Not for nothing had composers such as Giacomo Puccini and Kurt Weill already tried to persuade Molnar to release his play. It also led Rodgers and Hammerstein to new heights: songs such as "If I Loved You," Billy's "Soliloquy," and "You'll Never Walk Alone" transformed the American musical. In this book, we discover how and why they came about, and exactly what Carousel was trying to achieve.

An authoritative survey of music and its context in the Renaissance. The sixteenth and early seventeenth centuries - the so-called Golden Age of Polyphony - represent a time of great change and development in European music, with the flourishing of Orlando di Lasso, Palestrina, Byrd, Victoria, Monteverdi and Schutz among others. The chapters of this book, contributed by established scholars on subjects within their fields of expertise, deal with polyphonic music - sacred and secular, vocal and instrumental - during this period. The volume offers chronological surveys of national musical cultures (in Italy, France, the Netherlands, Germany, England, and Spain); genre studies (Mass, motet, madrigal, chanson, instrumental music, opera); and is completed with essays on intellectual and cultural developments and concepts relevant to music (music theory, printing, the Protestant Reformation and the corresponding Catholic movement, humanism, concepts of "Renaissance" and "Baroque"). It thus provides a complete overview of the music and its context. Contributors: GARY TOMLINSON, JAMES HAAR, TIM CARTER, GIULIO ONGARO, NOEL O'REGAN, ALLAN ATLAS, ANTHONY CUMMINGS, RICHARD FREEDMAN, JEANICE BROOKS,DAVID TUNLEY, KATE VAN ORDEN, KRISTINE FORNEY, IAIN FENLON, KAROL BERGER, PETER BERGQUIST, DAVID CROOK, ROBIN LEAVER, CRAIG MONSON, TODD BORGERDING, LOUISE K. STEIN, GIUSEPPE GERBINO, ROGER BRAY, JONATHAN WAINWRIGHT, VICTOR COELHO, KEITH POLK

This collection of reprinted essays starts from the author's doctoral research on Jacopo Peri and the rise of opera and solo song in late sixteenth- and early seventeenth-century Florence. It extends to broader issues concerning music and patronage in the city as they affected individual composers, patrons and institutions, and thence to the commerce of music printing and the book trade. It concludes with an attempt to suggest a broader view of these various issues as they impact upon musical life in the 'provinces' in Tuscany. There is a great deal of new documentary and other information here, but the aim is also to expand methodological horizons so as to prompt new ways of thinking about music in its contexts.

Music in 17th and early 18th century Italy was wonderfully rich and varied: in theatrical and secular vocal chamber music alone, we saw the rise of the solo song and cantata, and the birth and growth of opera, all establishing important new structural and expressive paradigms. But this was also a complex time of uncertainty and change, as 'old' and 'new' interacted in subtle and often surprising ways. There is still much to document, explore and explain in terms of composers and repertories and their multi-layered contexts. This collection of essays by European, British and American musicologists seeks to consolidate the recent growth interest in seventeenth century studies. It includes discussions of leading composers (d'India, Monteverdi, Rovetta, Steffani, Albinoni, Vivaldi and Handel), repertories (chamber laments, staged balli and operatic mad-scenes), geographical issues (the arrival of Neapolitan opera in Venice), institutional contexts, and iconography. Inspiration for the book was drawn from the poineering research of Nigel Fortune, to whom the volume is dedicated on his 70th birthday.

Carousel (1945), with music by Richard Rodgers and the book and lyrics by Oscar Hammerstein II, was their second collaboration following the surprising success of Oklahoma! (1943). They worked again with Theresa Helburn and Lawrence Langner of the Theatre Guild (producers), Rouben Mamoulian (director), and Agnes de Mille (choreographer). But with Oklahoma! still running to sell-out houses, they needed to do something quite different. Based on a play, Liliom (1909), by the Hungarian playwright Ferenc Molnar, Carousel took Broadway musical theater in far darker directions because of its subject matter-the protagonist, Billy Bigelow, is wholly an anti-hero-and also given its extensive music that some claimed came close to opera. The action is shifted from a gritty working-class suburb of Budapest to the New England coast (Maine), but the themes remain the same as two social misfits try to survive harsh economic times. Billy Bigelow is unemployed, prone to domestic violence, and dies in the course of committing a robbery; Julie Jordan sticks by him through thick and thin; and the show seeks some manner of redemption for both of them as Billy is given a day back on earth to do some good for his wife and their daughter. Troubling though these matters are nowadays, they fit squarely in the context of a country moving through the end of World War II to an uncertain future. Not for nothing had composers such as Giacomo Puccini and Kurt Weill already tried to persuade Molnar to release his play. It also led Rodgers and Hammerstein to new heights: songs such as "If I Loved You," Billy's "Soliloquy," and "You'll Never Walk Alone" transformed the American musical. In this book, we discover how and why they came about, and exactly what Carousel was trying to achieve.

Prepare for the exam with practice tests written by current examiners. This write-in book contains four new extended practice tests that help students prepare confidently in the weeks before the Cambridge IGCSE English as a Second Language exam. By completing the tests, learners develop familiarity with the format of the assessment and enhance their reading, writing, speaking and listening technique. This edition does not contain answers at the back of the book, making it suitable for classwork or homework. Audio for the listening exercises is online on the Cambridge University Press website.

This book supports students preparing for Cambridge International Examinations IGCSE English as a Second Language (0510 / 0511 / 0991). The full-colour exam preparation and practice book contains four guided practice tests, audio and video to build confidence ready for the revised exam from 2019. It takes an active learning approach with a test-teach-test methodology. This encourages students to think about how they are developing language skills, helping them progress. Full sample answers with examiner comments and grades are included to help students understand what is required in the writing and speaking exams. This is part of the Cambridge IGCSE ESL toolbox of resources - the widest choice of resources for this qualification.

This highly-praised study of Monteverdi and his works combines clear social and historical perspectives with critical insight into his music. In relating Monteverdi to the musical activity of his time, Denis Arnold reveals a forward-looking genius whose music is now receiving long-overdue appreciation. The text and appendices of this edition were fully revised by Tim Carter, who added a new chapter taking account of recent scholarship.

Prepare for the exam with practice tests written by current examiners. This write-in book contains four new extended practice tests that help students prepare confidently in the weeks before the Cambridge IGCSE English as a Second Language exam. By completing the tests, learners develop familiarity with the format of the assessment and enhance their reading, writing, speaking and listening technique. With answers at the back of the book, this resource is perfect for learners' self-study or for teachers to save time when marking. Audio for the listening exercises is on the accompanying CDs or on the Cambridge University Press website.

First published in 2007, "Oklahoma!": The Making of an American Musical tells the full story of the beloved Rodgers and Hammerstein musical. Author Tim Carter examines archival materials, manuscripts, and journalism, and the lofty aspirations and mythmaking that surrounded the musical from its very inception. The book made for a watershed moment in the study of the American musical: the first well-researched, serious musical analysis of this landmark show by a musicologist, it was also one of the first biographies of a musical, transforming a field that had previously tended to orient itself around creators rather than creations. In this new and fully revised edition, Carter draws further on recently released sources, including the Rouben Mamoulian Papers at the Library of Congress, with additional correspondence, contracts, and even new versions of the working script used - and annotated - throughout the show's rehearsal process. Carter also focuses on the key players and concepts behind the musical, including the original play on which it was based (Lynn Riggs's Green Grow the Lilacs) and the Theatre Guild's Theresa Helburn and Lawrence Langner, who fatefully brought Rodgers and Hammerstein together for their first collaboration. The crucial new perspectives these revisions and additions provide make this edition of Carter's seminal work a compulsory purchase for all teachers, students, and lovers of musical theater.