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.

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.

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.

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.

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.

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.

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.

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).

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.

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.

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.

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

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 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.

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.

DOGS UNLEASHED: From On-Leash To Off-Leash - Leash Training For Dog Lovers
A comprehensive no-nonsense description of the most successful leash training tricks - compiled by Tim Carter, founder of the largest breed authority site in the world.
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Start to ENJOY dog walking again. Get your dog to HEEL when needed. UNLEASH your dog safely. Walk OFF-LEASH much more. RECALL your dog reliably from the most tempting distractions.
This book is complete. You'll even learn about different collars and different leashes, harness, head collar, ID tag, everything. What you need, and what you don't need. Don't get this book if you are the commander type of dog owner. - Get this book if you are a liberal dog owner, if you love your dog, if you want to have a happy dog. And if you want to be happy yourself. Including during dog walks.
...everything included that makes dog walking "joyful" again
"Never crossed my mind to read about leash training but chuffed I did "
"Invaluable This is exactly what we needed - thank you so much"
Forget the 1960ies dog training techniques others still teach you. Say goodbye to your troubles and worries with your dog or puppy, on the leash and off-leash Join the forefront of dog training insight. Now.

Puppy Development Guide - PUPPY 101 for Dog Lovers: The Secrets to Puppy Training without Force, Fear, and Fuss
280 pages in the book (based on print edition), plus 1,360 pages linked through to the largest dog authority site on the internet. This book is an information powerhouse at your fingertips like no other. Nothing is left out.
The Puppy Development Guide does not show you how to teach your dog to sit - for such basics you can look in your local newspaper. This book is a detailed Puppy 101 that guides you through all stages of puppy development and of a rescue dog alike. Whether rescue dog or puppy, they both present much the same problems - because your family situation and your environment are new to them. This could mean your new dog is excited or - scared
Assume you know that you want a dog and which dog you want. Then everything else this Puppy 101 explains: well-structured and concise From tips where to get your dog, how to puppy-proof your house, what items you need for your new dog, what is the right puppy food and when and how often to feed your pup, which vaccinations you need and how often and which you don't need, how a puppy develops during the first year and how you can shape this development, the right age and the right time for puppy training, how you become the "accepted" Pack leader and why this is essential, how to deal with excessive Attention Seeking and when you have no time, when, where, how long and "how" to crate your new dog, how to conduct the feeding for maximum training benefit, which reward types exist and when you should choose which reward and why, how to socialize your new dog, what and how to play with your puppy for maximum training benefit, complete leash training, crate training, housebreaking, bite inhibition training, and behavior training, how to correct your dog's behavior the right way without force, fear, and fuss, how to deal with the common puppy problems: chewing, scratching, whining, barking, nipping, mouthing, biting, jumping, digging, puppy aggression, etc etc. Plus: This book also comprises the PRIME SECRET about dogs that the author discovered and no other author has yet written about
The Puppy Development Guide is void of bla-bla. There is nothing about how great the author is and in which TV shows you can see him or any such stuff. The Puppy Development Guide is pure content and funny and easy to read. Whether you are a five-year old and this is your first dog, or whether you are a pensioner and this is your tenth dog.
If you don't know this author, you missed out on the forefront of dog insight. Then most in this book will be new to you. If you know this author, well then you know you must get your hands on this book. And if you've got a prior edition 1 to 9, by all means get this edition 10 for free. This Puppy 101 is the summit of puppy insight. It won't get any better for you. But without this, your new dog will get worse.
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Claudio Monteverdi (1567-1643) is well known as the composer of the earliest operas still performed today. His Orfeo, Il ritorno d'Ulisse in patria, and L'incoronazione di Poppea are internationally popular nearly four centuries after their creation. These seminal works represent only a part of Monteverdi's music for the stage, however. He also wrote numerous works that, while not operas, are no less theatrical in their fusion of music, drama, and dance. This impressive book is the first to survey Monteverdi's entire output of music for the theater-his surviving operas, lost operas, and other dramatic musical compositions. Tim Carter, a leading Monteverdi expert, begins by charting the progress of early opera from the north Italian courts to the "public" theaters of Venice. He places Monteverdi's stage works in the broader context of early seventeenth-century theatrical endeavor and explores crucial questions of genre, interpretation, and performance practices both then and now. Taking a pragmatic view of how the works were brought to life in the theater and how they were seen in their own time, Carter discusses the complex modes of production that involved a range of artists, artisans, creators, and performers. With insightful commentary on the composer's individual works and on the cultural and theatrical contexts in which they were performed, Carter casts new light on Monteverdi's remarkable achievement as a man of the theater.