Combinando los conjuntos dispares de datos, el sistema conjuntó alrededor de 3000 celulares con rostros, con distintos niveles de certeza.
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"Há também seis conjuntos de gêmeos fraternos em que um gêmeo tem microcefalia, enquanto o outro parece não ter sido afetado".
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La policía en Zigong, una ciudad mediana en la provincia de Sichuan, compró 21989 conjuntos de esta tecnología, según muestran los documentos.
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Maré es tan grande que tiene todos los paisajes que se imaginan de una favela: escaleras empinadas y laberínticas y conjuntos habitacionales rectangulares.
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Para hacer el tipo de análisis que se describe aquí, se necesitan conjuntos de información de grandes dimensiones que los investigadores puedan leer meticulosamente.
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Las supermanzanas de la capital de Cataluña, esa visión urbana de convertir conjuntos de cuadras en unidades con zonas verdes, parques infantiles y paseos peatonales probablemente se convierta en un modelo de intervención urbana para otras ciudades.
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Desde versiones actualizadas del manto tradicional conocido como abaya, pasando por la ropa deportiva para jóvenes musulmanes inspirada en el hip-hop, hasta los conjuntos de ricas texturas elaborados con telas ikat y batik, son algunas de las tendencias reflejadas en la exposición Contemporary Muslim Fashions del Museo de Young.
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De todos modos, el futbol femenil ha crecido a un ritmo exponencial en los centros neurálgicos de Europa, donde el deporte es dominado por los hombres: como prueba, queda el hecho de que las escuadras del Manchester United y el Real Madrid, dos de los últimos equipos en la élite del deporte varonil en resistirse a participar, alinearon conjuntos el fin de semana pasado.
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Teoría axiomática de conjuntos. Barcelona: Ariel. in Spanish.
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The overall 'feel' of the Rodríguez conjunto was more African than other Cuban conjuntos.
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The term sonora refers to conjuntos with smoother trumpet sections such as Sonora Matancera and Sonora Ponceña.
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The term conjunto (, literally group, ensemble) refers to several types of small musical ensembles present in different Latin American musical traditions, mainly in Mexico and Cuba. While Mexican conjuntos play styles such as norteño and tejano, Cuban conjuntos specialize in the son, as well as its derivations such as salsa.
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García 2006 p. 147. At the time, only two other conjuntos existed: Conjunto Casino and Alberto Ruiz's Conjunto Kubavana. This type of ensemble would replace the former septetos, although some such as the Septeto Nacional would perform on and off for years. Of all the conjuntos, Arsenio Rodríguez's became the most successful and critically acclaimed one during the 1940s.
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The site consists of five major groupings of buildings called “conjuntos” labeled A, B, C, D, and E. Conjunto D is more commonly referred to as the Plaza del Serpiente (Plaza of the Serpent). Conjunto E is more commonly referred to as the ball court area. Buildings within each of the conjuntos are denoted with numbers, such as 1A, 1B, etc. The archeological site has more than forty excavated and at least partially restored monuments.
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La Habana.Fernandez Robaina, Tomas 1983. Recuerdos secretos de los mujeres publicas. La Habana. The guaracha survives today in the repertoires of some trova musicians, conjuntos and Cuban-style big bands.
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This led to big bands replacing the conjuntos, which managed to keep its flavor despite elaborate arrangements.Leymarie, Isabelle. "Cuban Fire: The Story of Salsa and Latin Jazz." New York: Continuum Publishing, 2002. 121. Print.
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In the 1940s, after the disbandment of Carabina de Ases, Chappottín joined several conjuntos: América, Gloria Cubana, Anacaona (directed by Concepción Castro), Azul (directed by Chano Pozo), Los Jóvenes del Cayo and finally Arsenio Rodríguez's popular conjunto, in 1950. In 1950, Rodríguez decided to continue his career in New York and the members of his conjunto that remained in Havana founded Conjunto Chappottín, which was directed by Chappottín, with the arrangements of pianist Lilí Martínez and featuring Miguelito Cuní on lead vocals. The band became one of the most popular conjuntos of the 1950s with hits such as "Alto Songo".
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Ed. Chomsky, Carr, and Smorkaloff. Durham: Duke University Press, 2004. 199. Print. A development that led to the decrease in popularity of the original son occurred in the 1940s. The son grew more sophisticated as it was adopted by conjuntos, which displaced sextetos and septetos.
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Joseíto González, Montuno Cubano. In the early 1960s, he started collaborating with the Conjunto Rumbavana, for which he did some arrangements. He soon became the band's pianist and director. His arrangements and Raúl Planas' vocals made the Rumbavana one of Cuba's most successful conjuntos of the 1960s and 1970s.
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Son ensembles of this time added pianos to broaden their contrapuntal and harmonic vocabulary. Trumpets, sometimes as many as three, replaced cornets. The additional instruments meant sextetos and septetos evolved into conjuntos. Septeto Soprano added a piano during this decade but did not expand its brass section until the 1940s.
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Diccionario de la música cubana. La Habana. p. 407. In the salsa context, the term típico usually refers to the sound of the conjuntos of the 1940s, such as Arsenio Rodríguez's, or to those of the original charangas danzoneras (charangas típicas), such as Arcaño y sus Maravillas, since orquestas típicas never reached the United States.
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The instrumentation was expanded to include cornets or trumpets, forming the sextets and the septets of the 1920s. Later these conjuntos added piano, other percussion instruments, more trumpets, and even dance orchestra instruments in the style of jazz big bands.Argeliers, L. "Notes toward a Panorama of Popular and Folk Music." Essays on Cuban Music: North American and Cuban Perspectives.
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Tamboritas calentanas The tamborita or tamborita calentana is a percussion instrument from Mexico. It is used in conjuntos de música calentana, in the states of Guerrero, Michoacán y Estado de México. It is a double-headed skin drum, traditionally built with Parota root wood. Rims are made of aisinchete schrub and are tightened as in military drums.
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Ed. Chomsky, Carr, and Smorkaloff. Durham: Duke University Press, 2004. 198. Print. The very music that son had helped to create was now replacing son as the more popular and most requested music in Cuba. Original son conjuntos were faced with the options of either to disband and refocus on newer styles of Cuban music, or go back to their roots.
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In 1915, charangas began to replace orquestas típica, a process which was largely complete by 1925. Charangas would become, along with son conjuntos and Cuban-style big bands, one of the main precursors of the salsa ensemble, which is characterized by the inclusion of multiple trombones. Salsa ensembles can also feature trumpets along with piano, double bass, güiro, conga and bongó.Orovio, Helio 1981.
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The decade of the 1980s began with the departure of Yiyo, a member for thirty-two years. He was replaced by Alberto Valdés. Chocolate also left in this year, being succeeded by Héctor "Bomberito" Zarzuela, a long-time member of Pacheco's conjuntos. This year saw the addition of a third trumpet and a third coro vocalist, bringing the number of instrumentalists and singers to twelve.
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The group wanted Gabinetes espaciales to be the a-side of this single but RCA wished to promote Pototo instead. Gabinetes... was eventually included on the compilation LP Mis conjuntos preferidos (RCA Vik 3836). In early 1970 another single was released with two songs from the album. Meanwhile, Spinetta was working on a highly ambitious—though not original at that time—project: a rock opera about mankind's inner search.
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Compay Segundo at the Hotel Nacional de Cuba Trova musicians often worked in pairs and trios, some of them exclusively so (Compay Segundo). As the sextetos / septetos / conjuntos grew in popularity many trovadores joined in the larger groups. The technique of guitar-playing gradually improved; the early trovadors, being self-taught, had rather limited techniques. Later, some tapped into classical guitar techniques to revive the accompaniment of the trova.
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The music is of high quality, considering the technical limitations of the time; the group won first prize in the Concurso de Sones in 1925 and 1926.John Santos in liner notes to Folklyric LP 9054. When the group added a cornet, soon replaced by a trumpet, namely Félix Chappottín, it became the Septeto Habanero. This latter line-up lasted until the late 1930s, when sextetos were ousted by conjuntos and big bands.
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Mexican conjunto music, also known as conjunto tejano, was born in south Texas at the end of the 19th century, after German settlers introduced the button accordion. The bajo sexto has come to accompany the button accordion and is integral to the conjunto sound. Many conjuntos are concentrated in the Southwestern portion of the United States, primarily in Texas and California. In Mexico, the term conjunto is associated with norteño and tejano music.
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In the mid-20th century the style was taken up by the conjuntos and big bands as a type of up-tempo music. Many of the early trovadores, such as Manuel Corona (who worked in a brothel area of Havana), composed and sung guarachas as a balance for the slower boleros and canciónes. Ñico Saquito was primarily a singer and composer of guarachas. The satirical lyric content also fitted well with the son, and many bands played both genres.
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One of the interpretations of this set of reliefs is that it represents the occurrence of an eclipse. The Jaguar represents some kind of earth monster eating the sun, represented by the flower or heart figure. An eclipse did indeed occur on the date Two Rabbit Nine House on the Aztec calendar. Conjuntos A and B each consist of a plaza with a temple pyramid or pyramid base with one or more smaller buildings associated with it.
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Rubén González is considered an innovator of the son cubano piano style. The genre's early ensembles (sextetos and septetos) lacked pianos, and these were introduced in the late 1930s by the first three conjuntos: Arsenio Rodríguez's conjunto, Alberto Ruiz's Conjunto Kubavana, and Conjunto Casino. González played in the former two, which made him a pioneer in the genre. Apart from the son, González had a profound knowledge of the danzón and his improvisations are characterized by harmonic subtleties.
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Ideal's exclusive focus on regional tejano music eventually resulted in the label recording nearly every tejano artist of note who was active during the label's existence. In the decades of the 1940s and 1950s Ideal was the clearly predominant record label for tejano music. Its output was highly influential in bringing conjuntos, female musicians, and orquestas to prominence within Tejano culture. The label's first recordings of Beto Villa were crucial in establishing the orquesta tejana as a Mexican-American tradition.
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Guitarist Eliades Ochoa Buena Vista resulted in several follow-up recordings and spawned a film of the same name, as well as tremendous interest in other Cuban groups. In subsequent years, dozens of singers and conjuntos made recordings for foreign labels and toured internationally. The conclusion some have drawn is that the wholesale closure of popular music venues (after the revolution), which threw many musicians out of work, and subsequent control by state committees, damaged the development of Cuban popular music.
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Although de facto a septet since 1927, the band didn't release music as the Septeto Habanero until 1945. Due to the advent of conjuntos and big bands, the band remained largely inactive between 1931 and 1945, making recordings only in a session on September 17, 1940. In the early 1930s the band experienced important line-up changes, with Guillermo Castillo and Carlos Godínez leaving in 1934. The following year, director Gerardo Martínez left the band to form a new group, Conjunto Típico Habanero.
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Carmen y Laura were often backed by orchestras instead of accordion-based conjuntos, as their music was aimed at the Tejano middle class and not the migrant working class. These orchestras included those of Paulino Bernal, Pedro Bugarin and Beto Villa. Additionally their music was popular in Mexico, making them among the few Tejano women duos earning that distinction. The group was highly influential in the Texas Chicano music scene, not only introducing the female duet to Tejano music, but causing it to become "fashionable".
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Key charanga flautist, bandleader and entrepreneur Johnny Pacheco switched from the charanga configuration to the conjunto in 1964. However, the first New York-based conjunto was Eddie Palmieri's "La Perfecta", which had its debut in 1962. These conjuntos would be crucial in the early development of the most successful Latin American music genre to date, salsa. Notably, the introduction of Puerto Rican music styles such as bomba and plena within the conjunto and Cuban music in general resulted in what is known today as salsa.
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The Cultural Properties of Mozambique are protected and promoted in accordance with Law 10/88 of 1988 concerning tangible and intangible properties relating to the cultural heritage of Mozambique (bens materiais e imateriais do património cultural moçambicano). Article 3 defines eight classes of movable cultural properties and four classes of immovable cultural properties: monuments (monumentos), groups of buildings (conjuntos os grupos de edifícios), sites (locais ou sitios), and natural elements (elementos naturais); those classed as património cultural are of exceptional significance and are afforded special state protection.
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The repertoire of the group consisted almost exclusively of compositions by the López brothers. Cachao played double bass, whereas Orestes performed on the piano, double bass and cello. They became key innovators of the danzón genre, creating the danzón nuevo ritmo, which led to the mambo in the 1940s and chachacha in the 1950s. Apart from charangas, Cuban music in the 1940s saw the rise of conjuntos which specialized in son cubano and big bands which played all types of ballroom music from upbeat guarachas to boleros and mambos.
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By the 1940s, the popularity of son conjuntos and the decline of danzón orchestras forced Álvarez to go on hiatus. She took this time to study solfège and music theory, and took up the guitar and the piano at the Academia Municipal de La Habana (current Amadeo Roldán Conservatory). She also improved her vocal technique, wanting to become a better singer. After her studies, she founded a new orchestra with his husband, violinist Luis Armando Ortega, and in 1943 they got a programme at the CMQ radio station.
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In the words of Ry Cooder, As a music venue, the Buenavista Social Club experienced the peak of Havana's nightclub life, when charangas and conjuntos played several sets every night, going from club to club over the course of a week. Often, bands would dedicate songs to the clubs where they played. In the case of the Buenavista Social Club, an eponymous danzón was composed by Israel López "Cachao" in 1938, and performed with Arcaño y sus Maravillas. In addition, Arsenio Rodríguez dedicated "Buenavista en guaguancó" to the same place.
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101 Many of the early trovadores, such as Manuel Corona (who worked in a brothel area of Havana), composed and sang guarachas as a balance for the slower boleros and canciones. The satirical lyric content also fitted well with the son, and many bands played both genres. In the mid-20th century the style was taken up by the conjuntos and big bands as a type of up-tempo music. Today it seems no longer to exist as a distinct musical form; it has been absorbed into the vast maw of Salsa.
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It is most popular on the Gulf Coast and certain sections of the Pacific coast, with three main regional varieties: son jarocho in Veracruz, son huasteco (or huapango) in the La Huasteca region and son jaliscience, which has morphed into what is now known as Mariachi. Mexican sones are usually played by conjuntos, or bands, playing string and percussion instruments. String instruments vary from region to region, but may include violin, vihuela, jarana, guitar, guitarrón, guitarra de golpe, requinto, huapanguera, guitarra panzona, tololoche, and harp. Percussion may include tambor, tamborita, cajón, and quijada.
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He donated this collection, known as the Strachwitz Frontera Collection of Mexican and Mexican-American Music, to the nonprofit organization Arhoolie Foundation. The first norteño album on Arhoolie was Conjuntos Norteños, by Los Pinguinos del Norte, released in 1970, but one of his biggest successes came with Flaco Jiménez, whose album Ay Te Dejo en San Antonio won a Grammy Award in 1986. With cinematographer Les Blank, he also made two documentaries about the music in the mid 1970s, Chulas Fronteras and Del Mero Corazon. He discovered and released the first two albums of seminal klezmer revival band The Klezmorim.
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Four pyramid structures, possibly an exclusive area for rulers and priests have been identified at the top of the Hill. These architectural groups are called Gotas, Montés, Cóporo, Caracol, were built at the end of the classical and epiclassical period, between 500 and 900 CE. A number of large squares whose functions could have been administrative and religious have also been identified on the north and west slopes of the complex. So far six groups (conjuntos) of this prehispanic site, related to the Tunal Grande culture (200-1100 CE) have been excavated: Gotas, Llano, Aire, Cóporo, Montés and Caracol.
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Estrellas de Chocolate is a Cuban son conjunto founded by conguero Félix "Chocolate" Alfonso in 1959. Its original lineup featured Niño Rivera (tres), Agustín Cabrera (vocals, guitar), David Palomares (piano), Armando Albertini "El Gorila" (trumpet), "Chino" León Lahera (lead vocals), Arístides Valmaseda (lead vocals), Filiberto Hernández (vocals), Sergio de Cuba (double bass) and Pichi (bongo). Albertini and Palomares directed the band, while Rivera was responsible for the arrangements. The style of the group was largely inspired by previous conjuntos such as Arsenio Rodríguez's (of which Alfonso had been a member between 1945 and 1950), Conjunto Chappottín (also a spin-off of Arsenio's) and Conjunto Casino.
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The second stage is dated from 750-900 C.E. show simultaneous occupation of both the Ojo de Agua site and the northern edge of Tetepetl Hill, by the same ethnic group. The first constructions of the Teotenango site date from this period, including the temazcal, structures 2C and 3C and some structures that lie under structures in Conjuntos A and C. The reason the settlement moved from the valley floor to the mesa was due to natural defenses that the mesa provided. Constructions here still are mostly of dwellings of adobe and still show strong Teotihuacan influence indicated by two inclined walls supporting a vertical one.
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Congas were originally used in Afro-Cuban music genres such as conga (hence their name) and rumba, where each drummer would play a single drum. Following numerous innovations in conga drumming and construction during the mid-20th century, as well as its internationalization, it became increasingly common for drummers to play two or three drums. Congas have become a popular instrument in many forms of Latin music such as son (when played by conjuntos), descarga, Afro-Cuban jazz, salsa, songo, merengue and Latin rock. Although the exact origins of the conga drum are unknown, researchers agree that it was developed by Cuban people of African descent during the late 19th century or early 20th century.
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Alfonso "El Panameno" Joseph was born in the Republic of Panama, and immigrated to New York City at 11 years of age, where he studied music and became one of the forefront bassists of the Cuban bandleader Arsenio Rodríguez. Joseph is a featured guest in a major television production about the era of Afro-Cuban music at The Palladium in New York La Epoca. Joseph's musical career began in the mid-1950s, learning and playing guitar with many Puerto Rican groups, "conjuntos", and playing diverse rhythmic variations of Puerto Rican music. He replaced the guitar strings with electronic strings and used the guitar as a bass, playing only the last four strings.
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Miguel Triana, in his work La Civilización ChibchaTriana, Miguel; La Civilización Chibcha (The Chibcha Civilization), 1924 suggested that the rock art symbols were writing. Wenceslao Cabrera Ortíz was the one who concluded that the Muisca were migrants to the highlands; in 1969 he published on thisOrtíz, Wenceslao Cabrera; Monumentos rupestres de Colombia (Colombian Rock-art Monuments) in Cuaderno primero: Generalidades, Algunos conjuntos pictóricos de Cundinamarca, 1969 and reported about excavations at the El Abra archaeological site. Those publications opened a new era in the studies of the pre-Hispanic cultures in Colombia. Recent archaeological work has also concentrated on the creation and composition of Muisca goldwork, with this data being made available for wider research.
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Congas and comparsas have a long history which dates back to the 19th century, with musical traditions being passed down from one generation to the next. The older comparsas are derived from cabildos de nación or other social groups, whereas the later ones, called paseos, are derived from barrios (neighbourhoods). The music of the congas has become a genre itself, being introduced into Cuban popular music in the early 20th century by artists such as Eliseo Grenet and Armando Oréfiche and his Havana Cuban Boys. They have been present for decades in the repertoire of many conjuntos, Cuban big bands and descarga ensembles, also having an influence on modern genres such as salsa and songo.
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In the 1980s and 1990s, he continued to develop Arhoolie as a distributor of smaller independent blues labels, and an importer of jazz and blues releases on European labels. He also increasingly focused attention on Mexican and, specifically, norteño music, which he had long admired, building up what is believed to be the largest private collection of Mexican-American and Mexican music. The first such album on Arhoolie was Conjuntos Norteños, by Los Pinguinos del Norte, released in 1970, but one of his biggest successes came with Flaco Jiménez, whose album Ay Te Dejo en San Antonio won a Grammy Award in 1986. With cinematographer Les Blank, he also made two documentaries about the music in the mid 1970s, Chulas Fronteras and Del Mero Corazon.
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After recording Focus Plays Focus, the band struggled to find a label willing to release it. Their fortunes changed once they had recorded "House of the King", an instrumental by Akkerman of which its origins differ. Focus biographer Peet Johnson gives the general consensus that it was inspired by their appearance at the Barbarela de Conjuntos music contest in Majorca on 11 June 1970, where in the final round, their rendition of Concierto de Aranjuez by Joaquín Rodrigo ran over the 15-minute time limit, causing their plugs to be pulled. Focus proceeded to retaliate with van Leer playing the flute to the audience as a distraction while the rest of the group trashed the dressing room, after which they were arrested and spent a night in jail.
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Oscar D'León was a long-time resident of the Parroquia Antímano section of Caracas (his father was a laborer at the neighborhood cemetery). He had a strong interest in percussion ever since he was a child, improvising bass parts with his throat while playing Latin rhythms with his hands on any available surface. He got in trouble in school early on for doing this constantly. He then took interest in the upright bass (he learned the instrument on his own), and would eventually alternate in jobs as an auto mechanic, assembly line worker or taxi driver (during the day) and bass player (at night) for local conjuntos [literally means an "assembly", but represents a small musical band popularized in Cuba, whereby musicians on bass, guitar, and percussion would all sing local folk songs].
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The Bernal Brothers were first recorded as the backup conjunto for some of the duets then popular among Texas-Mexicans, such as Carmen y Laura. In March 1955, Marroquin gave the Bernals their chance as headliners, and a 78 rpm record was released with the cancion ranchera Mujer Paseada on one side and the romantic bolero Desprecio on the other. With the release of their first record, the Bernal Brothers quickly put their cotton picking days behind them forever and soon joined Valerio Longoria and Tony De La Rosa as the top conjuntos in Texas. El Conjunto Bernal recorded prolifically for Ideal between 1955 and 1960 and some of the best sides including the monster hits: Mi Unico Camino and Sentimiento Y Renco, both from late 1958, are on this CD and cassette.
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The CVC does not discriminate when it comes to the genres they collect and DJ. The genres they play at gigs vary greatly and include "sixties girl-groups, yé-yé pop, garage girls, punk, indie pop, northern soul, new wave, post-punk, riot grrrl, motown, ska, diy pop, oi!, power pop, twee, chicano oldies, sixties soul, pop, chicano soul-dies, tejano, mexican rock, mexican punk, latino punk, rocksteady, dancehall reggae," 1970s funk, 1960s psychedelic Peruvian cover songs, cumbia, rock en espanol, funk, r&b;, oldies, norteños, corridos, and conjuntos. Each member brings a unique sound into the collective based on her personal record collection, whether inherited from family members or purchased at thrift stores, record stores, or flea markets. The CVC strives to support local members of the community and typically play gigs that support local artists or non profit organizations, especially those that seek to preserve minority culture and eliminate the plight of people of color.
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