O problema da “identidade” na etnomusicologia: a história e as definições de um termo problemático na pesquisa em música

This article takes a diachronic look at the use of the word “identity” in ethnomusicology and related disciplines, synthesizing disparate uses and definitions to suggest an allencompassing yet concise definition. Expanding from a critical piece by Timothy Rice (2007) on the topic, the literature review for the present study included not only articles in major ethnomusicology journals with the word “identity” in the title –as Rice did– but also monographs, anthologies, and academic encyclopedias in the realms of ethnomusicology, musicology, psychology, cultural studies, and anthropology where “identity” was a principal theme. The interdisciplinary and chronological approach shows writing about “identity” to be disjointed in ethnomusicology and in related disciplines, but not entirely devoid of heuristic value. A broad but highly portable definition is suggested before taking stock of the remaining work needed to achieve a uniquely musical take on identity.El artículo ensaya una mirada diacrónica del uso de la palabra “identidad” en la etnomusicología y las disciplinas relacionadas, sintetizando diversos usos y definiciones para proponer una definición abarcadora, aunque concisa. A partir de un trabajo crítico sobre el tema escrito por Timothy Rice (2007), la revisión bibliográfica comprende no solo artículos de las publicaciones periódicas más destacadas en los cuales aparece la palabra “identidad” en los títulos –como Rice señala–, sino también en trabajos incluidos en monografías, antologías y enciclopedias de las áreas de la etnomusicología, la musicología, la psicología, los estudios culturales y la antropología, donde la “identidad” es tratada como tema central. El acercamiento interdisciplinario y cronológico revela que lo escrito sobre la “identidad” en la etnomusicología y las disciplinas cercanas está desarticulado, aunque no carece de valor heurístico. Se sugiere una definición amplia, aunque versátil, antes de evaluar el trabajo necesario para lograr un estimación final, únicamente musical, de la “identidad”.Este artigo aborda, através de um olhar diacrônica, o uso da palavra “identidade” na etnomusicologia e nas disciplinas relacionadas, sintetizando as diferentes definições e usos do termo para sugerir uma definição abrangente mas também concisa. Tomando como ponto de partido um artigo crítico sobre o mesmo assunto pelo etnomusicólogo Timothy Rice (2007), a presente pesquisa contemplou não só os artigos de importantes revistas da etnomusicologia que incluíam a palavra “identidade” no seu título –da mesma forma que Rice fez– mas também monografias, antologias e enciclopédias acadêmicas dos campos da etnomusicologia, musicologia, psicologia, estudos culturais, antropologia e enciclopédias em que a identidade se destacava como tema importante. Esta abordagem interdisciplinar e cronológica revela que a escrita sobre “identidade” é desarticulada na etnomusicologia e nas disciplinas afins, mas não completamente sem valor heurístico. Uma definição aberta e portátil será sugerida antes de avaliar o trabalho que resta para chegar a uma perspectiva singularmente musical sobre a identidade

Crossing diaspora's borders: musical roots experiences and the Euro-American presence in Afro-Cuban religious music.

As a potentially more useful heuristic, I discuss what I call a musical “roots experience.†In doing so, I argue that recent Euro-American interest in Afro-Cuban music is a logical result of a search for a historicized cultural self, quite similar to that of African-Americans. In this way, the framework of a “roots experience†highlights experiential similarities across an ethnically diverse community of practitioners, whereas relying on the concept of the African Diaspora could possibly reinforce racial barriers

Whole-genome sequencing reveals host factors underlying critical COVID-19

Critical COVID-19 is caused by immune-mediated inflammatory lung injury. Host genetic variation influences the development of illness requiring critical care1 or hospitalization2–4 after infection with SARS-CoV-2. The GenOMICC (Genetics of Mortality in Critical Care) study enables the comparison of genomes from individuals who are critically ill with those of population controls to find underlying disease mechanisms. Here we use whole-genome sequencing in 7,491 critically ill individuals compared with 48,400 controls to discover and replicate 23 independent variants that significantly predispose to critical COVID-19. We identify 16 new independent associations, including variants within genes that are involved in interferon signalling (IL10RB and PLSCR1), leucocyte differentiation (BCL11A) and blood-type antigen secretor status (FUT2). Using transcriptome-wide association and colocalization to infer the effect of gene expression on disease severity, we find evidence that implicates multiple genes—including reduced expression of a membrane flippase (ATP11A), and increased expression of a mucin (MUC1)—in critical disease. Mendelian randomization provides evidence in support of causal roles for myeloid cell adhesion molecules (SELE, ICAM5 and CD209) and the coagulation factor F8, all of which are potentially druggable targets. Our results are broadly consistent with a multi-component model of COVID-19 pathophysiology, in which at least two distinct mechanisms can predispose to life-threatening disease: failure to control viral replication; or an enhanced tendency towards pulmonary inflammation and intravascular coagulation. We show that comparison between cases of critical illness and population controls is highly efficient for the detection of therapeutically relevant mechanisms of disease

Whole-genome sequencing reveals host factors underlying critical COVID-19

Critical COVID-19 is caused by immune-mediated inflammatory lung injury. Host genetic variation influences the development of illness requiring critical care1 or hospitalization2,3,4 after infection with SARS-CoV-2. The GenOMICC (Genetics of Mortality in Critical Care) study enables the comparison of genomes from individuals who are critically ill with those of population controls to find underlying disease mechanisms. Here we use whole-genome sequencing in 7,491 critically ill individuals compared with 48,400 controls to discover and replicate 23 independent variants that significantly predispose to critical COVID-19. We identify 16 new independent associations, including variants within genes that are involved in interferon signalling (IL10RB and PLSCR1), leucocyte differentiation (BCL11A) and blood-type antigen secretor status (FUT2). Using transcriptome-wide association and colocalization to infer the effect of gene expression on disease severity, we find evidence that implicates multiple genes—including reduced expression of a membrane flippase (ATP11A), and increased expression of a mucin (MUC1)—in critical disease. Mendelian randomization provides evidence in support of causal roles for myeloid cell adhesion molecules (SELE, ICAM5 and CD209) and the coagulation factor F8, all of which are potentially druggable targets. Our results are broadly consistent with a multi-component model of COVID-19 pathophysiology, in which at least two distinct mechanisms can predispose to life-threatening disease: failure to control viral replication; or an enhanced tendency towards pulmonary inflammation and intravascular coagulation. We show that comparison between cases of critical illness and population controls is highly efficient for the detection of therapeutically relevant mechanisms of disease

O problema da "identidade" na etnomusicologia: a história e as definições de um termo problemático na pesquisa em música

This article takes a diachronic look at the use of the word "identity" in ethnomusicology and related disciplines, synthesizing disparate uses and definitions to suggest an all-encompassing yet concise definition. Expanding from a critical piece by Timothy Rice (2007) on the topic, the literature review for the present study included not only articles in major ethnomusicology journals with the word "identity" in the title –as Rice did– but also monographs, anthologies, and academic encyclopedias in the realms of ethnomusicology, musicology, psychology, cultural studies, and anthropology where "identity" was a principal theme. The interdisciplinary and chronological approach shows writing about "identity" to be disjointed in ethnomusicology and in related disciplines, but not entirely devoid of heuristic value. A broad but highly portable definition is suggested before taking stock of the remaining work needed to achieve a uniquely musical take on identity. Este artigo aborda, através de um olhar diacrônica, o uso da palavra "identidade" na etnomusicologia e nas disciplinas relacionadas, sintetizando as diferentes definições e usos do termo para sugerir uma definição abrangente mas também concisa. Tomando como ponto de partido um artigo crítico sobre o mesmo assunto pelo etnomusicólogo Timothy Rice (2007), a presente pesquisa contemplou não só os artigos de importantes revistas da etnomusicologia que incluíam a palavra "identidade" no seu título –da mesma forma que Rice fez– mas também monografias, antologias e enciclopédias acadêmicas dos campos da etnomusicologia, musicologia, psicologia, estudos culturais, antropologia e enciclopédias em que a identidade se destacava como tema importante. Esta abordagem interdisciplinar e cronológica revela que a escrita sobre "identidade" é desarticulada na etnomusicologia e nas disciplinas afins, mas não completamente sem valor heurístico. Uma definição aberta e portátil será sugerida antes de avaliar o trabalho que resta para chegar a uma perspectiva singularmente musical sobre a identidade.El artículo ensaya una mirada diacrónica del uso de la palabra "identidad" en la etnomusicología y las disciplinas relacionadas, sintetizando diversos usos y definiciones para proponer una definición abarcadora, aunque concisa. A partir de un trabajo crítico sobre el tema escrito por Timothy Rice (2007), la revisión bibliográfica comprende no solo artículos de las publicaciones periódicas más destacadas en los cuales aparece la palabra "identidad" en los títulos –como Rice señala–, sino también en trabajos incluidos en monografías, antologías y enciclopedias de las áreas de la etnomusicología, la musicología, la psicología, los estudios culturales y la antropología, donde la "identidad" es tratada como tema central. El acercamiento interdisciplinario y cronológico revela que lo escrito sobre la "identidad" en la etnomusicología y las disciplinas cercanas está desarticulado, aunque no carece de valor heurístico. Se sugiere una definición amplia, aunque versátil, antes de evaluar el trabajo necesario para lograr un estimación final, únicamente musical, de la "identidad"

Ethnomusicology’s “Identity” Problem: The History and Definitions of a Troubled Term in Music Research

This article takes a diachronic look at the use of the word "identity" in ethnomusicology and related disciplines, synthesizing disparate uses and definitions to suggest an all-encompassing yet concise definition. Expanding from a critical piece by Timothy Rice (2007) on the topic, the literature review for the present study included not only articles in major ethnomusicology journals with the word "identity" in the title –as Rice did– but also monographs, anthologies, and academic encyclopedias in the realms of ethnomusicology, musicology, psychology, cultural studies, and anthropology where "identity" was a principal theme. The interdisciplinary and chronological approach shows writing about "identity" to be disjointed in ethnomusicology and in related disciplines, but not entirely devoid of heuristic value. A broad but highly portable definition is suggested before taking stock of the remaining work needed to achieve a uniquely musical take on identity. Keywords : Identity, ethnomusicology, musicology, terminology El problema de la "identidad" en la etnomusicología: historia y definiciones de un término problemático en la investigación musical : Resumen El artículo ensaya una mirada diacrónica del uso de la palabra "identidad" en la etnomusicología y las disciplinas relacionadas, sintetizando diversos usos y definiciones para proponer una definición abarcadora, aunque concisa. A partir de un trabajo crítico sobre el tema escrito por Timothy Rice (2007), la revisión bibliográfica comprende no solo artículos de las publicaciones periódicas más destacadas en los cuales aparece la palabra "identidad" en los títulos –como Rice señala–, sino también en trabajos incluidos en monografías, antologías y enciclopedias de las áreas de la etnomusicología, la musicología, la psicología, los estudios culturales y la antropología, donde la "identidad" es tratada como tema central. El acercamiento interdisciplinario y cronológico revela que lo escrito sobre la "identidad" en la etnomusicología y las disciplinas cercanas está desarticulado, aunque no carece de valor heurístico. Se sugiere una definición amplia, aunque versátil, antes de evaluar el trabajo necesario para lograr un estimación final, únicamente musical, de la "identidad". Palabras clave : identidad, etnomusicología, musicología, terminología O problema da "identidade" na etnomusicologia: a história e as definições de um termo problemático na pesquisa em música Resumo Este artigo aborda, através de um olhar diacrônica, o uso da palavra "identidade" na etnomusicologia e nas disciplinas relacionadas, sintetizando as diferentes definições e usos do termo para sugerir uma definição abrangente mas também concisa. Tomando como ponto de partido um artigo crítico sobre o mesmo assunto pelo etnomusicólogo Timothy Rice (2007), a presente pesquisa contemplou não só os artigos de importantes revistas da etnomusicologia que incluíam a palavra "identidade" no seu título –da mesma forma que Rice fez– mas também monografias, antologias e enciclopédias acadêmicas dos campos da etnomusicologia, musicologia, psicologia, estudos culturais, antropologia e enciclopédias em que a identidade se destacava como tema importante. Esta abordagem interdisciplinar e cronológica revela que a escrita sobre "identidade" é desarticulada na etnomusicologia e nas disciplinas afins, mas não completamente sem valor heurístico. Uma definição aberta e portátil será sugerida antes de avaliar o trabalho que resta para chegar a uma perspectiva singularmente musical sobre a identidade. Palavras-chave : identidade, etnomusicologia, musicologia, terminologi

Wixárika Music, Huichol Music: The Construction and Commodification of an Indigenous Identity

This dissertation studies traditional and popular music of the Wixárika (a.k.a. Huichol) people of western Mexico, focusing especially on the phenomenon of Wixárika musicians who intentionally represent themselves as indigenous “Huichol” people yet perform popular Mexican music primarily for non-indigenous audiences. This phenomenon markets ethnic identity within regional and transnational music industries, following in the footsteps of Wixárika people who have successfully inserted their arts and crafts into global markets. The process of becoming indigenous cosmopolitan capitalists is partly the result of direct assimilatory projects directed by early Mexican anthropologists and the indirect outcome of over a century of Huichol identity construction for consumption, aided greatly by foreign ethnographers and other outsiders. On one hand, the commodification of identity through handicrafts, art, and music generates income for the Wixárika people, and the resultant visibility—sometimes international in scale—may strengthen them politically as Indigenous people. Conversely, the process simultaneously supplants some of the very elements they consider central to Wixárika culture. Musicians often leave their homelands to pursue their craft, making it difficult or impossible to participate in community affairs and ceremonies, and leaving their children bereft of Wixárika language and “customs.” Such people who represent the “customs” but do not practice them are sometimes disparaged as “half disqualified” or “Huichol de pirata” (pirated Huichol), illuminating identity’s commodity form. As the first English-language study of Wixárika music, this dissertation examines the paradox of identity commodification, developing a tripartite model of identity that shows the vital (albeit sometimes inadvertent) role of ethnography in defining the essence of the commodity form of Huichol identity