Biological controls for standardization and interpretation of adaptive immune receptor repertoire profiling
Johannes TrückAnne EugsterPierre BarennesChristopher M. TiptonEline T. Luning PrakDavide BagnaraCinque SotoJacob S. SherkowAimee PayneMarie‐Paule LefrancAndrew FarmerMagnolia BostickEncarnita Mariotti‐Ferrandiz
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Abstract:
Use of adaptive immune receptor repertoire sequencing (AIRR-seq) has become widespread, providing new insights into the immune system with potential broad clinical and diagnostic applications. However, like many high-throughput technologies, it comes with several problems, and the AIRR Community was established to understand and help solve them. We, the AIRR Community's Biological Resources Working Group, have surveyed scientists about the need for standards and controls in generating and annotating AIRR-seq data. Here, we review the current status of AIRR-seq, provide the results of our survey, and based on them, offer recommendations for developing AIRR-seq standards and controls, including future work.Keywords:
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TRT Turkish folk music repertoire is used as a common repertoire in the performance of Turkish folk instruments. Among these Turkish folk instruments, the baglama is one of the main instruments that stand out in Turkish folk music. In baglama performance, it is known that works belonging to different musical genres or new works composed for the baglama are used, as well as the use of the THM repertoire to a large extent. It can be said that this is due to the ability of the baglama to easily adapt to different types of music and types of performance, and to have a large performance capacity that baglama players today reach. Therefore, given the level of performance that the baglama, which has a rich performing infrastructure, has reached today, there is a need for an instrumental repertoire based on instrument performance. In the study, the existing instrumental repertoire used in baglama performance was evaluated from various angles. The main results of the study are that the baglama has a very rich performing infrastructure, there are alternative or new/innovative repertoire works next to the existing THM repertoire, baglama performers are already entering the repertoire areas of different musical genres due to the need for instrumental repertoire.
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When performers, who have learned some but not all of the possible songs they might have learned, come together in situations where they have to play for a certain amount of time for whoever is there, what they play is their repertoire for that occasion. These players playing in this place with its demands and using the repertoire that is, one way or another and at one level or another, available to them individually and collectively, create, on the spot and perhaps for this one time only, a repertoire, the specific list of songs they play on that occasion. In the most general case, a working repertoire exists for just that one occasion. Musicians who assemble for a job often have played together before. This chapter looks at two common forms of repertoire that musicians can rely on to create an evening's performance: the working repertoire of a semistable group and the generalized repertoire that characterizes what we might call a playing region or musical community.
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