Chicha in the shanty towns of Arequipa, Peru

Popular Music ◽  
1993 ◽  
Vol 12 (3) ◽  
pp. 229-244 ◽  
Author(s):  
Margaret Bullen

Chicha, a fermented maize beer, traditional in the Andes and brewed by Andean migrants in the shanty towns of Peru's cities, has given its name to a musical movement, which first emerged in the migrant squatter settlements of Lima in the 1960s. By the mid-1980s chicha was the most well-known and wide-spread form of urban popular music in Peru (Romero 1990; Rowe & Schelling 1991, pp. 121–2), widely played, sung and danced in impromptu chichodromos, set up in walled-in vacant lots or back yards.

2019 ◽  
pp. 134-197
Author(s):  
V.E. . Sergei

The article is dedicated to the history of the Military Historical Museum of Artillery, Engineering and Signal Corps. The author examines the main stages of the museums formation, starting with the foundation of the Arsenal, established in St. Petersburg at the orders of Peter the Great on August 29th 1703 for the safekeeping and preservation of memory, for eternal glory of unique arms and military trophies. In 1756, on the base of the Arsenals collection, the General Inspector of Artillery Count P.I. created the Memorial Hall, set up at the Arsenal, on St. Petersburgs Liteyny Avenue. By the end of the 18th century the collection included over 6,000 exhibits. In 1868 the Memorial Hall was transferred to the New Arsenal, at the Crownwork of the Petropavlovsky Fortress, and renamed the Artillery Museum (since 1903 the Artillery Historical Museum). A large part of the credit for the development and popularization of the collection must be given to the historian N.E. Brandenburg, the man rightly considered the founder of Russias military museums, who was the chief curator from 1872 to 1903. During the Civil and Great Patriotic Wars a significant part of the museums holdings were evacuated to Yaroslavl and Novosibirsk. Thanks to the undying devotion of the museums staff, it not only survived, but increased its collection. In the 1960s over 100,000 exhibits were transferred from the holdings of the Central Historical Museum of Military Engineering and the Military Signal Corps Museum. In 1991 the collection also received the entire Museum of General Field Marshal M.I. Kutuzov, transferred from the Polish town of Bolesawjec. The Military Historical Museum of Artillery, Engineering and Signal Coprs is now one of the largest museums of military history in the world. It holds an invaluable collection of artillery and ammunition, of firearms and cold steel arms, military engineering and signal technology, military banners, uniforms, a rich collection of paintings and graphic works, orders and medals, as well as extensive archives, all dedicated to the history of Russian artillery and the feats of our nations defenders.Статья посвящена истории создания ВоенноИсторического музея артиллерии, инженерных войск и войск связи. Автор рассматривает основные этапы становления музея, начиная с основания Арсенала, созданного в СанктПетербурге по приказу Петра I 29 августа 1703 года для хранения и сохранения памяти, во имя вечной славы уникального оружия и военных трофеев. В 1756 году на базе коллекции Арсенала генеральный инспектор артиллерии граф П. И. создал мемориальный зал, установленный при Арсенале, на Литейном проспекте СанктПетербурга. К концу 18 века коллекция насчитывала более 6000 экспонатов. В 1868 году Мемориальный зал был перенесен в Новый Арсенал, на венец Петропавловской крепости, и переименован в Артиллерийский музей (с 1903 года Артиллерийский Исторический музей). Большая заслуга в развитии и популяризации коллекции принадлежит историку Н.Е. Бранденбургу, человеку, по праву считавшемуся основателем российских военных музеев, который был главным хранителем с 1872 по 1903 год. В годы Гражданской и Великой Отечественной войн значительная часть фондов музея была эвакуирована в Ярославль и Новосибирск. Благодаря неусыпной преданности сотрудников музея, он не только сохранился, но и пополнил свою коллекцию. В 1960х годах более 100 000 экспонатов были переданы из фондов Центрального исторического военноинженерного музея и Музея войск связи. В 1991 году коллекцию также получил весь музей генералфельдмаршала М. И. Кутузова, переданный из польского города Болеславец. Военноисторический музей артиллерии, инженерных войск и войск связи в настоящее время является одним из крупнейших музеев военной истории в мире. Здесь хранится бесценная коллекция артиллерии и боеприпасов, огнестрельного и холодного оружия, военной техники и сигнальной техники, военных знамен, обмундирования, богатая коллекция живописных и графических работ, орденов и медалей, а также обширные архивы, посвященные истории русской артиллерии и подвигам защитников нашего народа.


2001 ◽  
Vol 12 (1) ◽  
pp. 45-58 ◽  
Author(s):  
Ross W. Jamieson

As one of the most common artifact categories found on Spanish colonial sites, the wheel-made, tin-glazed pottery known as majolica is an important chronological and social indicator for archaeologists. Initially imported from Europe, several manufacturing centers for majolica were set up in the New World by the late sixteenth century. The study of colonial majolica in the Viceroyalty of Peru, which encompassed much of South America, has received less attention than ceramic production and trade in the colonial Caribbean and Mesoamerica. Prior to 1650 the Viceroyalty of Peru was supplied with majolica largely produced in the city of Panama Vieja, on the Pacific. Panama Vieja majolica has been recovered from throughout the Andes, as far south as Argentina. Majolica made in Panama Vieja provides an important chronological indicator of early colonial archaeological contexts in the region. The reproduction of Iberian-style majolica for use on elite tables was symbolically important to the imposition of Spanish rule, and thus Panamanian majolicas also provide an important indicator of elite status on Andean colonial sites.


Popular Music ◽  
2007 ◽  
Vol 26 (1) ◽  
pp. 1-4
Author(s):  
David Horn

This issue of Popular Music is produced in honour of Paul Oliver, in recognition of his outstanding contribution to popular music scholarship.Paul was a member of the original Editorial Board for Popular Music when it was set up in 1980 and continued to serve as a member of that body, and subsequently of the Editorial Group, until 1990. He was also a founding member of the International Association for the Study of Popular Music and has maintained a keen interest in the organisation, continuing to attend, and speak at, its international conferences. His vision of both the potential and the needs of the Association as a global network lay behind his proposal in 1985 that a project be undertaken to compile a worldwide encyclopedia of popular music, an idea which subsequently bore fruit in EPMOW (The Encyclopedia of Popular Music of the World). All these achievements are worth celebrating in themselves, but it is Paul's outstanding contribution to scholarship in the area of vernacular – particularly African-American vernacular – music that we wish to honour with this issue.


2021 ◽  
Vol 33 (6) ◽  
pp. 2279-2300
Author(s):  
Bettina Detmann

AbstractFirst, different porous media theories are presented. Some approaches are based on the classical mixture theory for fluids introduced in the 1960s by Truesdell and Coworkers. One of the first researchers who extended the theory to porous media (thus mixtures containing at least one solid constituent) and also accounting for chemical reactions was Bowen. Another important branch of porous media theory goes back to Biot. In the beginning, he dealt with classical geotechnical problems and set up his model empirically. Mathematicians often use reaction–diffusion equations which are limited in comparison with continuum models by several restrictive assumptions and very often only applicable to special problems. In this paper, the focus lies on approaches based on the mixture theory which incorporate chemical reactions. Different strategies to describe the chemical potential for mixtures are presented, and different opinions about the exploitation of the second law of thermodynamics for mixtures are put forward. Finally, several works of different types including chemical reactions in porous media are summarized.


Author(s):  
Soojin Kim

This chapter examines the ways in which a juxtaposition of two definitions of modernity are reflected in the two female singers, Yi Mi-ja and Patti Kim, who actively performed in postwar South Korea, particularly between the 1960s and the 1970s. While different social values and cultural practices constituted the modernity of South Korea, most scholarship on Korean popular music gives particular attention to the cultural products of modernity that have been influenced by the West, mostly by the U.S. This chapter, however, suggest that the different cultures from Korea, Japan, and the U.S. together constitute the modernity of Korea. Also, different collective memories from the Japanese colonial experience, the Korean War, and the Korean government-led economic development project shape the ideal form of modernization. Modernity in South Korean popular music shows that the periods between the 1960s and the 1970s juxtapose what the Korean society was facing and seeking at the time. Focusing on the Yi and Kim’s music and their performance styles, this chapter explores how different musical cultures and social values are reflected in their music as a way to construct gendered and censored modernity.


2021 ◽  
pp. M55-2018-43 ◽  
Author(s):  
Salvatore Gambino ◽  
Pietro Armienti ◽  
Andrea Cannata ◽  
Paola Del Carlo ◽  
Gaetano Giudice ◽  
...  

AbstractMount Melbourne and Mount Rittmann are quiescent, although potentially explosive, alkaline volcanoes located 100 km apart in Northern Victoria Land quite close to three stations (Mario Zucchelli Station, Gondwana and Jang Bogo). The earliest investigations on Mount Melbourne started at the end of the 1960s; Mount Rittmann was discovered during the 1988–89 Italian campaign and knowledge of it is more limited due to the extensive ice cover. The first geophysical observations at Mount Melbourne were set up in 1988 by the Italian National Antarctic Research Programme (PNRA), which has recently funded new volcanological, geochemical and geophysical investigations on both volcanoes. Mount Melbourne and Mount Rittmann are active, and are characterized by fumaroles that are fed by volcanic fluid; their seismicity shows typical volcano signals, such as long-period events and tremor. Slow deformative phases have been recognized in the Mount Melbourne summit area. Future implementation of monitoring systems would help to improve our knowledge and enable near-real-time data to be acquired in order to track the evolution of these volcanoes. This would prove extremely useful in volcanic risk mitigation, considering that both Mount Melbourne and Mount Rittmann are potentially capable of producing major explosive activity with a possible risk to large and distant communities.


Author(s):  
Roy Goulding

This series provides a selection of articles from the past. In Fifty years ago: ‘A poisons information service’ the author briefly explores a service set up in the 1960s to offer advice on medicinal, veterinary, agricultural, horticultural, and household poisoning, and after some debate, industrial poisoning.


2019 ◽  
Vol 36 (02) ◽  
pp. 155-171 ◽  
Author(s):  
Christine Carroll

AbstractThis article examines curriculum and practice in Australian secondary classroom music education, in order to trace the inclusion of, and provision for, students with learning orientations based on popular music forms. A 60-year period of curriculum reform, matriculation statistics and literature is surveyed with a focus on the state of New South Wales (NSW), where the ‘non-literate’ student musician was first acknowledged in curriculum documents dating from the late 1970s at the senior secondary level (Music Syllabus Year 11 and 12: New 2 Unit A Course. Draft Document). Three overlapping eras frame discussion. The first discusses the original post–World War II school curriculum established for Western art music (WAM); the second discusses the period of curriculum reform beginning in the 1960s and 1970s, which leads to the inclusion of popular music at junior secondary levels; and the third is the present era from roughly 1980 onwards, where separate pathways of instruction are maintained for WAM and students with interests in popular and contemporary musics. Legitimation Code Theory (LCT) from the sociology of education is employed, with analysis unveiling a series of historic code shifts and clashes with implications for present practice. An unveiling of these codes explains the cause of ongoing tensions surrounding the inclusion of popular music and musicians in Australian music classrooms and provides foundation for much-needed curriculum development in the NSW context, and potentially elsewhere, where similar dynamics underpin practice in secondary classrooms.


Popular Music ◽  
1999 ◽  
Vol 18 (3) ◽  
pp. 309-329 ◽  
Author(s):  
Cristina Magaldi

Anyone visiting Brazil today in search of an idealised ‘Brazilian Sound’ might, at first, be disappointed with the popular music scene. The visitor will soon realise that established musical styles such as bossa nova and MPB (Música Popular Brazileira (Brazilian Popular Music)), with their well-defined roles within the Brazilian social and political scene of the 1960s, 1970s, and early 1980s, have lost their immediate appeal with some contemporary audiences, and especially with Brazilian urban youth. In the 1990s, Brazilian radio and TV are saturated with a variety of new local genres that borrow heavily from international musical styles of all kinds and use state-of-the-art electronic apparatus. Hybrid terms such assamba-rock, samba-reggae, mangue-beat, afro-beat, for-rock(a contraction of forró and rock),sertaneja-country, samba-rap, andpop-nejo(a contraction of pop andsertanejo), are just a few examples of the marketing labels which are loosely applied to the current infusion of international music in the local musical scene.


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