Operetta developed in the second half of the 19th century from the French opéra-comique and the more lighthearted German Singspiel. As the century progressed, the serious concerns of mainstream opera were sustained and intensified, leaving a gap between opéra-comique and vaudeville that necessitated a new type of stage work. Jacques Offenbach, son of a Cologne synagogue cantor, established himself in Paris with his series of opéras-bouffes. The popular success of this individual new form of entertainment light, humorous, satirical and also sentimental led to the emergence of operetta as a separate genre, an art form with its own special flavour and concerns, and no longer simply a "little opera". Attempts to emulate Offenbach's success in France and abroad generated other national schools of operetta and helped to establish the genre internationally, in Spain, in England, and especially in Austria Hungary. Here it inspired works by Franz von Suppé and Johann Strauss II (the Golden Age), and later Franz Lehár and Emmerich Kálmán (the Silver Age). Viennese operetta flourished conterminously with the Habsburg Empire and the mystique of Vienna, but, after the First World War, an artistically vibrant Berlin assumed this leading position (with Paul Lincke, Leon Jessel and Edouard Künnecke). As popular musical tastes diverged more and more during the interwar years, with the advent of new influences—like those of cabaret, the revue, jazz, modern dance music and the cinema, as well as changing social mores—the operetta genre took on new guises. This was especially manifested in the musical comedy of London's West End and New York's Broadway, with their imitators generating a success that opened a new golden age for the reinvented genre, especially after the Second World War. This source book presents an overview of the operetta genre in all its forms. The first volume provides an introduction, a representative chronology of the genre from 1840 to 2013, and a survey of the national schools of France and Austria-Hungary. The principal composers are considered in chronological sequence, with biographical material and a list of stage works, selected synopses and some commentary.
At a time when crime scene television shows are all the rage amongst the civilian population, knowledge of firearm forensics is of paramount importance to crime scene analysts, police detectives, and attorneys for both the prosecution and the defense. Cartridges and Firearm Identification brings together a unique, multidisciplined approach to questions that arise regarding ammunition and firearms within the context of investigation. Supplying essential practical information about firearms and ammunition in a clear, easy-to-follow format, this volume: Defines and depicts photographically all varieties of firearms Presents investigative concerns of firearms evidence from the perspectives of evidence preservation and safe handling procedures Introduces readers to the standards of measurement used to classify ammunition, including the significance of names, adjectives, and other descriptors used in conjunction with ammunition cartridges Categorizes and identifies ammunition head stamps from cartridges produced around the world Provides ammunition manufacturing practices for dozens of nations The text offers a methodology for the identification of unknown firearms as well as ammunition of questioned identity. The author explains the terminology and describes each group of firearms and the aspects that identify the weaponry—including property marks, proof marks, and patent dates. Lavishly illustrated, this comprehensive reference includes case studies to support the text, making it a premier reference for all those responsible for the complicated task of investigating firearms and cartridges.
The study of drug action has benefitted greatly from the development and use of in vivo model systems. In model systems, manipulations and observations can be more rigorously controlled and screens of novel therapeutic agents can be more safely conducted.No single model system provides all of the possible advantages. At one end, mammalian models al
When someone steals Ashley's votes for Prom Princess, the girls accuse nasty Dana Woletsky of the deed, but when the true culprit is revealed, Mary-Kate and Ashley face the not-so-easy task of helping Dana win the title.
It's Mary-Kate's first Valentine's Day with a boyfriend and she is filled with Valentine's Day spirit. So much so that she decides to put an ad in the school paper and advertise herself as a singing telegram for White Oak and Harrington! She's having a great time sending Valentine's messages for her friends . . . until she gets a request to give a Valentine to her own boyfriend -- from someone else! Ashley isn't thinking about Valentine's Day. She got a bad grade on a science test and the only way she'll get an A on the next one is if she can convince the biggest nerd in the class to tutor her. He says he'll do it -- but only on one condition. Ashley has to turn him into a total stud in time for Valentine's Day so the girl of his dreams will go out with him. The problem? Nothing Ashley does seems to change him at all! And if she doesn't change him soon, she'll be out of luck for her next test!
Mary-Kate leaves White Oak Academy--and Ashley--after Ashley writes about her in the school gossip column, and the pair muddle through their separation by writing in their diaries; based on the real-life twins' television series.
This will help us customize your experience to showcase the most relevant content to your age group
Please select from below
Login
Not registered?
Sign up
Already registered?
Success – Your message will goes here
We'd love to hear from you!
Thank you for visiting our website. Would you like to provide feedback on how we could improve your experience?
This site does not use any third party cookies with one exception — it uses cookies from Google to deliver its services and to analyze traffic.Learn More.