An anatomy of musical blood
The sociocultural construction of Romani ‘natural’ musicality
Bibliographic Data
| ID | 6256164 |
|---|---|
| Authors | Petr Nuska (0000-0003-2239-7072, Czech Academy of Sciences, Institute of Ethnology, corresponding author) |
| Year | 2025 |
| Volume | 25 |
| Issue | 6 |
| Pages | 865-883 |
| Publication date | 2025-12-01 |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Ethnicities (JOURNAL) |
| Journal identifiers | ISSN: 1468-7968 • E-ISSN: 1741-2706 |
| Publisher | SAGE Publications Inc (PUBLISHER) |
| DOI | 10.1177/14687968251343781 |
| OpenAlex | W4410454971 |
| Language | EN |
| References cited | 54 |
This article explores the phenomenon of ‘musical blood’ using the case of Slovak Roma to challenge both the specific myth of innate Romani musicality and the broader assumption that musical ability is genetically inheritable within ethnic groups. Rather than debunking racist ideas about primordially assigned ethnic features, the article advocates for a more nuanced and scholarly approach to understanding how musical abilities are constructed, perceived and valued within varying social and cultural environments. The article provides an overview of the literature on the heritability of musicality, focusing on the specifics (and pitfalls) of applying this concept to ethnic groups . Then, it critically examines how societal conceptions of music contribute to the persistence of the musical blood myth, suggesting that these beliefs are rooted in sociocultural narratives and stereotypes. It delves into an analysis of multifaceted sociocultural constructs that sustain the notion of ethnic musical predispositions; different sociocultural contexts shape the perception and valuation of musical enculturation, musical aptitude and music per se. The article then analyses the case of Slovak Roma to illustrate broader theoretical implications, providing a critical lens on the role of systemic biases held by non-Roma (heterostereotypes), Romani self-ascribed identification with the construct (autostereotypes), and mutual interactions thereof. While the article is based on the author’s long-term ethnographic observations in Gemer-Malohont in Slovakia (2013–2023), it pairs material from this context with existing ethnographic scholarship, covering cases of Romani musical blood in different sociocultural contexts. The article reflects on the importance of understanding ‘musical blood’ not just as a stereotype but as a meaningful and impactful sociocultural construct deeply embedded in the lives and identities of Romani musicians and their communities
Aesthetics · Archaeology · Art · Literature · Musical · Musicality · Natural (archaeology · Sociocultural evolution · Sociology · Anthropology · Diverse Musicological Studies · Diversity and Impact of Dance · History · Romani and Gypsy Studies
The New Grove Dictionary of Music and Musicians
The Traveller-Gypsies
Gypsy Identities 1500-2000
Innate talents
The role of deliberate practice in the acquisition of expert performance.
Most people are not Weird
Gypsy economy
Gypsy Musicians and Hungarian Peasant Music
From Reflexivity to Collaboration
‘Civilising’ the Roma? The depoliticisation of (anti-)racism within the politics of integration
The role of music in ethnic identity formation in diaspora
Race
Performance of Romani ethnicity in Klenovec
Two Strikes and the Double Negative
Are Jews Musical? Historical Notes on the Question of Jewish Musical Modernism and Nationalism
Recognising Difference
Gypsy music’ as music of the Other in European culture
Deñuy jàngal seen bopp” (They Teach Themselves)
Modeling Ethnomusicology
Ethnomusicology
The articulation of soul
Occupation and Ethnicity
Survivals of Turkish Characteristics in Romanian Musica Lautareasca
Music Is In Our Blood
Economic Adaptability
Ethnicity, Race, and Nationalism
| Highly cited | No |
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