Data from surveys are used to help quantitatively diagnose the relative importance of chemical and nonchemical management practices, identify weed problems, and provide potential solutions. However, to our knowledge, such surveys have not been conducted in Argentina. In 2016, advisors and crop producers from cropping areas across Argentina were surveyed through email with the objectives to identify the main weed species problems and assess the use of chemical and nonchemical weed management practices in different crop production areas in Argentina. Fleabane, pigweed, johnsongrass, fingergrass, goosegrass, barnyardgrass, and ryegrass were considered the most important weeds. More than 53% of the producers used only chemical options; 86% used chemical fallow (i.e., keeping weed free with chemical application); 62% used full herbicide rates; 46% used proper herbicide timing; 41% used multiple modes of action; and 32% used rotation of herbicide modes of action. The main nonchemical practices used were crop rotation (45%); avoiding seed production during (31%) and after (25%) the crop cycle; narrow row spacing (19%); and cultivars with greater competitive ability (18%). Less than 15% of the people surveyed used increased crop densities or altered date of sowing. There is a high dependence on chemical control in the main crops grown in Argentina. Extension efforts are needed to emphasize the importance of integrated weed management.

We prove the consistency of

$$~~\text{add}\left( \mathcal{N} \right)<\operatorname{cov}\left( \mathcal{N} \right)<\mathfrak{p}\text{=}\mathfrak{s}\text{=}\mathfrak{g}< \text{add}\left( \mathcal{M} \right)=\text{cof}\left( \mathcal{M} \right)<\mathfrak{a}=\mathfrak{r}=\text{non}\left( N \right)=\mathfrak{c}$$

$\text{ZFC}$

This article deals with the circulation of instrumental music between Spain and the New World at the end of the eighteenth century, focusing on Madrid, Mexico City and Lima as main urban centres. By analysing archival documents preserved in these cities, I intend to show that the baroque guitar music composed and copied in Madrid was also intended to be a commercial concern in Latin America (particularly in Mexico City and Lima), and that its cultivation in the New World lasted for a long time, even through to the beginning of the nineteenth century, thus coexisting with music by Johann Christian Bach, Boccherini, Cannabich, Haydn and other ‘modern’ composers. These assertions are reinforced through an examination of two musical manuscripts copied in Lima around 1800, which also shows some of the changes undergone by the repertory during its complex process of reception. I conclude by suggesting that, in the light of all this, a linear and evolutionary view of music history, according to which new repertories replace older ones, should be reconsidered.

Musical performers and performing processes are relatively new objects of study if we compare them with composers and works, categories that have been at the centre of musicological concerns for a long time: so much so that in a relatively recent publication, An Introduction to Music Studies, ed. J. P. E. Harper-Scott and Jim Samson (Cambridge: Cambridge University Press, 2009), the study of musical performance is presented as a field of renewal for music history and analysis.