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The column opens with a discussion of an immense online repository of opera videos known as Opera On Video. That is followed by a review of an album titled Wings that features chamber music of composer Rami Levin. The column concludes with a review of Alison Krauss’s newest album, Arcadia , recorded with her band Union Station.

At the moment that Daniel was shot, I had just fallen asleep after a night on call in the cardiac intensive care unit. My attending during that rotation was Robert Gerszten, who offered us insights from the burgeoning field of metabolomics and cardiovascular disease: that alterations in levels of blood metabolites may precede chronic illnesses by decades — knowledge that might someday enable us to identify people at risk for diseases years before the first clinical manifestation. Contemplating the possibilities of this concept, caring for critically sick patents, and studying the vast cardiology literature, I found my mind filled with . . .

This article examines the contested issue of defining the genre of bluegrass music. Interpreting this debate as a subjective negotiation and renegotiation of a category, it focuses on the discursive and musical means through which ontologies of bluegrass are framed. In doing so, the article adds to a growing body of literature that considers genre in popular music as a flexible construct involving both musical performance and cultural formations. The article begins by exploring the idea of bluegrass as constructed by Bill Monroe and a number of early bluegrass scholars, after which it invokes recent work on human cognition and categorisation to analyse the genre debate among bluegrass enthusiasts. The article ultimately proposes that such discourse, notwithstanding its apparent futility, can be regarded as a vital means for a genre's self-perpetuation.