![]() ![]() ![]() ![]() Hybridity is treated as a common communication tool and, as such, goes beyond the expected repertories of polystylism and musical collage from the 1960s and 1970s. It engages with the structural, contextual, and perceptual aspects of music by mixing perspectives from music studies with postcolonial studies, situated cognition, and genre studies. This dissertation develops a framework to approach musical hybridity by considering style and genre interactions as an analytical layer of combinations of identities. ![]()
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