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Hybridity Reading:

Ailish Hall

One of the first main points was that there are blurred lines
between: (still read left to right.)

More specialized settings that focus on


particular aspects of music or musical
engagement. 


Hybrid classes may include media and technology but it isn’t the
sole focus.

“He [Williams] urges music educators to develop curricula and


pedagogies that address the ways in which technology is
changing how people engage with music” (Tobias, 2016, p. 115).

It is a complete change rather than an already developed


program and introducing technology or vice versa and introducing
specific ensembles like choir.
Hybridity also emphasizes artistic thinking and acting (doing)
rather than skills’ sets. Even though it develops skills as well.

A specific way to get the students engaged with hands on


hybridity material is to break up the types of musical engagement
topics and put them into units and projects.
As depicted before, to use this in the classroom, “For
instance, music educators and students might discuss music in
the context of commercial media such as radio stations or how
people share musical perspectives via social media” (Tobias,
2016, p. 119).

So it doesn’t always have to be about projects and units it


can also include discussion which then could apply to using things
related to media in their projects and
curricula.

“They argue that educational considerations and


requirements should frame how technology is integrated in
classrooms. Music educators’ (a) understanding of technology
and (b) skills related to technology should be connected to their
musical content and pedagogical expertise (Shulman,
1986).” (Tobias, 2016, p. 120).

This quote is saying that the way to integrate hybridity into


classrooms is to not only use the technology side and expose the
students to it but also use the technology to teach them musical
skills and knowledge to cater towards the musicianship side of
hybridity. Like teaching sight-reading or music theory.
All in all this article is explaining how to incorporate hybridity into
music education. The main purpose of it is engagement which in
this article is the main focus of music education which in turn can
be used in secondary general music classes. It might be one of
the best ways for secondary general music education students to
learn, but that is a more opinionated statement and each
individual person can use that or not. The rationale for this article
is that classrooms should use hybridity in the classroom. One
thing I do not agree with is that I wish there was a way that
hybridity could be used but not started from scratch and used
consistently. If it did that though then it wouldn’t be called
Hybridity. So, it’s a take or leave all of it concept.

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