Papers by Myrtle D . Millares
American Music Teacher, 2012
This article reports on an observational study of student behaviours during piano lessons that ar... more This article reports on an observational study of student behaviours during piano lessons that are classified as either attentive and inattentive. Teacher behaviours that helped students sustain attention are documented to provide strategies for use during instrumental instruction. The article also provides a review of literature on attention span development from a psychological perspective while hypothesizing about the nature of students' inattention during the lessons observed in the course of this study.
Journal of Popular Music Education , 2019
On 24 May 2019, youth around the world united in an International School Strike for Climate, rebe... more On 24 May 2019, youth around the world united in an International School Strike for Climate, rebelling, in part, against educational systems that have sustained political, economic and colonial systems that are destroying communities and killing vulnerable populations. We have less than eleven years to set a course, with social justice at its core (IPCC 2018), to ensure a sustainable world in which to breathe. Music educators are not exempt KEYWORDS
PhD Dissertation, 2020
This research project illustrates, through the voices of Toronto hip-hop artists, how the complex... more This research project illustrates, through the voices of Toronto hip-hop artists, how the complex, mutually influential interactions between individuals and their communities shape and create knowledge, while encouraging the articulation of difference through unique performance identities. Their learning spaces are not institutional classrooms, but rather public spaces such as community centres, church basements, and concrete city squares, where the line between teacher and student is crossed and blurred.
I employ narrative methodology as a means of obtaining the rich accounts necessary to illuminate these community-based learning processes. Hip-hop’s history is passed on orally and aurally as artists cultivate their craft. Artists’ personal stories are essential to the way hip-hop’s history, together with its teaching philosophies, are internalized and passed on in community spaces. Narratives elicited through interviews, conducted as dialogue, have the potential to more respectfully trace these individual-communal relationships. As such, the body of my data consists of the narratives of three Toronto hip-hop artists – B-boy Jazzy Jester, DJ Ariel, and MC LolaBunz – presented and interpreted according to the themes or moments that they have voiced as significant to the development of their skills and of their performance identities.
The narratives presented here show the dialogic relationship between musical creativity and identity-building, resulting in embodied, performed expressions of an engagement with the tensions of lived experience. Each artist reveals their personal engagement with layers of normative discourses that are constantly at play, accepted, rejected, and creatively manipulated to fashion one’s own performance identity expressed as style.
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Papers by Myrtle D . Millares
I employ narrative methodology as a means of obtaining the rich accounts necessary to illuminate these community-based learning processes. Hip-hop’s history is passed on orally and aurally as artists cultivate their craft. Artists’ personal stories are essential to the way hip-hop’s history, together with its teaching philosophies, are internalized and passed on in community spaces. Narratives elicited through interviews, conducted as dialogue, have the potential to more respectfully trace these individual-communal relationships. As such, the body of my data consists of the narratives of three Toronto hip-hop artists – B-boy Jazzy Jester, DJ Ariel, and MC LolaBunz – presented and interpreted according to the themes or moments that they have voiced as significant to the development of their skills and of their performance identities.
The narratives presented here show the dialogic relationship between musical creativity and identity-building, resulting in embodied, performed expressions of an engagement with the tensions of lived experience. Each artist reveals their personal engagement with layers of normative discourses that are constantly at play, accepted, rejected, and creatively manipulated to fashion one’s own performance identity expressed as style.
I employ narrative methodology as a means of obtaining the rich accounts necessary to illuminate these community-based learning processes. Hip-hop’s history is passed on orally and aurally as artists cultivate their craft. Artists’ personal stories are essential to the way hip-hop’s history, together with its teaching philosophies, are internalized and passed on in community spaces. Narratives elicited through interviews, conducted as dialogue, have the potential to more respectfully trace these individual-communal relationships. As such, the body of my data consists of the narratives of three Toronto hip-hop artists – B-boy Jazzy Jester, DJ Ariel, and MC LolaBunz – presented and interpreted according to the themes or moments that they have voiced as significant to the development of their skills and of their performance identities.
The narratives presented here show the dialogic relationship between musical creativity and identity-building, resulting in embodied, performed expressions of an engagement with the tensions of lived experience. Each artist reveals their personal engagement with layers of normative discourses that are constantly at play, accepted, rejected, and creatively manipulated to fashion one’s own performance identity expressed as style.