How Cortés embarked with all the soldiers, both those which he had brought in his company and those who had remained at San Gil de Buena Vista, and went to settle the place now called Puerto de Caballos, which he named La Natividad, and what he did there.

Author(s):  
Alfred Percival Maudslay
Keyword(s):  
2014 ◽  
Vol 29 (2) ◽  
pp. 80-85 ◽  
Author(s):  
Luis Heredia ◽  
David Hinkamp ◽  
Marc Brodsky ◽  
Carlos Llapur

BACKGROUND: The Orquesta Buena Vista Social Club is a world-renowned group of Cuban musicians accomplished in a variety of musical styles. The musicians of the Orquesta Buena Vista Social Club and supporting musicians of their orchestras represent a cohort of musicians throughout Cuba who continue to play traditional genres and perform into their older ages. PURPOSE: The purpose of the study was to (1) identify musculoskeletal conditions that occurred over the previous 12 months among the members of the Orquesta and supporting musicians and (2) to discover if these conditions, in part, were caused by or in some way affected musical performance. METHODS: The study was a convenience sample of musicians within the Orquesta Buena Vista Social Club and supporting musical groups. Thirty-six musicians completed a self-administered survey. RESULTS: Sixty-seven percent (24/36) of the total sample of musicians and 89% (16/18) of those over age 60 years had at least one musculoskeletal condition over the previous 12 months. Forty-four percent (16/36) of the total sample of musicians and 61% (11/18) of those older than 60 years of age reported that a musculoskeletal complaint was either, in part, caused by or affected their performance. CONCLUSION: Musculoskeletal conditions were prevalent among the Cuban musicians, especially in those over 60 years of age. Collaboration of medical professionals, managers, and musicians may help to generate ideas on how to prevent injuries as well as to evaluate what treatments for playing-related conditions, including both conventional and complementary and alternative therapies, are most effective.


Author(s):  
María Esther Sanz Sánchez
Keyword(s):  

A principios de los años treinta del siglo XIX, existían en la capital dos coliseos principales, el de la Cruz y el del Príncipe, avalados ya entonces por una historia de casi tres siglos y que contribuyeron al esplendor del Romanticismo como núcleos de los estrenos de los dramas españoles más destacados. Sin embargo,durante esa década comenzaron a abrirse otros teatros más pequeños y gestionados por particulares (denominados “secundarios”, “de segundo orden”, “de segunda categoría” o “subalternos”), los cuales también acogieron algunos estrenos significativos y coadyuvaron a la variedad artística del Madrid romántico.Los teatros más relevantes que se inauguraron en los treinta fueron –por orden cronológico– el de la Sartén (1 de octubre de 1830), el de Buena-Vista (26 de junio de 1837) y el de las Tres Musas (1 de junio de 1838). El segundo de ellos es el que tuvo una trayectoria más dilatada y rica, hasta principios del año 1876, y precisamente en ella se centra este artículo.


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