Jobs and spooled output consume system resources, mainly the CPU used to create and manage them and the storage to contain them. Typically, in most environments, you can manage resources that jobs and spooled files consume successfully. However, on the largest systems, with the largest numbers of jobs and very large numbers of spooled files, you can encounter limits. Too many jobs can fill up the job table, or too many spooled files can consume all the system's storage. Having a large number of jobs and spooled files in the system can contribute to potentially long IPLs for unexpected outages. Having a very large number of spooled files on a single output queue can result in lock contention. This IBM® Redpaper publication describes best practices and recommendations for managing jobs and spooled output on IBM i. It provides an overview of the various controls within the IBM i operating system that you can configure to adjust the limits for spooled output and jobs. It also provides recommendations for setting these values. We do not explain in detail each of the configuration controls that we discuss in this paper. Rather, if you need additional information regarding the topics that we discuss, see the IBM i 6.1 Information Center at: http://publib.boulder.ibm.com/iseries/
Jobs and spooled output consume system resources, mainly the CPU used to create and manage them and the storage to contain them. Typically, in most environments, you can manage resources that jobs and spooled files consume successfully. However, on the largest systems, with the largest numbers of jobs and very large numbers of spooled files, you can encounter limits. Too many jobs can fill up the job table, or too many spooled files can consume all the system's storage. Having a large number of jobs and spooled files in the system can contribute to potentially long IPLs for unexpected outages. Having a very large number of spooled files on a single output queue can result in lock contention. This IBM® Redpaper publication describes best practices and recommendations for managing jobs and spooled output on IBM i. It provides an overview of the various controls within the IBM i operating system that you can configure to adjust the limits for spooled output and jobs. It also provides recommendations for setting these values. We do not explain in detail each of the configuration controls that we discuss in this paper. Rather, if you need additional information regarding the topics that we discuss, see the IBM i 6.1 Information Center at: http://publib.boulder.ibm.com/iseries/
Giovanni Battista Rubini (1794-1854) was a legendary tenor and the first 19th-century non-castrati male singer to become an international star of opera. The previous two centuries had been the era of the castrati, with tenors and basses relegated to character and supporting roles in the operas of their time. Rubini stood apart because he not only matched the castrati in coloratura and pathos, but he also had an extraordinarily high voice. With Rubini’s rise, and in his wake, several tenors came to sing roles written specifically for them by Rossini, Bellini, Donizetti, and many other lesser-known bel canto composers. Signaling the end of the dominance of castrati on stage, this period would last some 40 years until the advent of Grand Opera, Wagner, and Verdi and the appearance of the first so-called High C from the chest by Gilbert-Louis Duprez in 1837. Since then, the accepted tenor sound has followed the tradition epitomized by Enrico Caruso and, in our own era, Luciano Pavarotti and Placido Domingo. Many composers, conductor, and performers would come to regard bel canto dramatic operas as decorative and vapid until Maria Callas and Tulio Serafin demonstrated the heights this genre of opera could reach. However, opera directors and opera performers of late who have expressed an interest in reviving selected masterpieces from the bel canto tradition have found themselves confronted with the problem of locating tenors versed in the vocal techniques necessary to carry the high tessituras. In Giovanni Battista Rubini and the Bel Canto Tenors: History and Technique, Dan H. Marek explores the extraordinary life of Rubini in order to frame this special period in the history of opera and connect the technique of the castrati who were among Rubini’s instructors. Drawing on the work of Berton Coffin, Marek offers long-sought answers to the challenges presented by high tessitura of bel canto operas for tenors. To further assist working singers, Giovanni Battista Rubini and the Bel Canto Tenors includes over 60 pages of exercises written by Rubini himself before 1840, which Marek, for the first time ever has adapted to acoustical phonetics. Professional singers, teachers and their students, vocal coaches, and opera conductors will find this work indispensable as the only English-language work on high tessitura for tenor and soprano singing.
Broadway musicals of the 1900s saw the emergence of George M. Cohan and his quintessentially American musical comedies which featured contemporary American stories, ragtime-flavored songs, and a tongue-in-cheek approach to musical comedy conventions. But when the Austrian import The Merry Widow opened in 1907, waltz-driven operettas became all the rage. In The Complete Book of 1900s Broadway Musicals, Dan Dietz surveys every single book musical that opened during the decade. Each musical has its own entry which features the following: Plot summary Cast members Creative team Song lists Opening and closing dates Number of performances Critical commentary Film adaptations, recordings, and published scripts, when applicable Numerous appendixes include a chronology of book musicals by season; chronology of revues; chronology of revivals of Gilbert and Sullivan operettas; a selected discography; filmography; published scripts; Black musicals; long and short runs; and musicals based on comic strips. The most comprehensive reference work on Broadway musicals of the 1900s, this book is an invaluable and significant resource for all scholars, historians, and fans of Broadway musicals.
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