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Sequence 4It always reminds me of a practice of cave man who thought that if he could draw an animal he could capture its spirit. I… |
Sequence 9and some of them will be constructed by the students. A traditional high school in an urban setting may need a smaller place,… |
Sequence 17Q: I just wanted to ask if I understand correctly that Creativity with a capital "C'' would be essentially… |
Sequence 24As they grew up in adolescence, almost all of these people felt, of course, marginal, because they did not conform to the… |
Sequence 36areas but not necessarily across tlie curriculum. How do you balance it, or by balancing it are you interrupting flow? A:… |
Sequence 16from them-not just the continents and the mountains, but the trees and the oceans and your bodies. The rocks are your… |
Sequence 10All of the poem-letters to poets in this book are run under the title "Lives of a Poet." Because a real poet… |
Sequence 13What do we mean when we speak of genius? What do we mean when we use terms as abstract as "creative spirit"… |
Sequence 38classroom too, to try to keep the background noises down. Certainly there's no need for background music, in my opinion,… |
Sequence 43and understand that they have minds and have needs and wishes to communicate. They're just sort of blind to other people… |
Sequence 10farming was a romantic adventure. Then, during the war, as food was scarce, it became a very serious activity. We literally… |
Sequence 1Search for Meaning and Mihaly Csikszentmihalyi's Elements of Enjoy- ment, which describes the conditions of optimal… |
Sequence 19would not have been any need for Aristotle, his student, to address those pioneering Platonic difficulties in a likewise grand… |
Sequence 8dence of how a culture works, calling for the understanding of foreign language as a means of penetrating the cultural… |
Sequence 6170 The NAMTA Journal • Vol. 38, No. 1 • Winter 2013 ing? In the last era, people thought there was no music in rocks. But we… |
Sequence 1Control and Coordination of Movement All activities of Practical Life help the child control and coordinate their movements.… |
Sequence 2Montessori: Now More Than Ever page 134 anxiety, depression and so forth? This is almost a rhetorical question for everyone… |
Sequence 35Montessori: Now More Than Ever page 134 anxiety, depression and so forth? This is almost a rhetorical question for everyone… |
Sequence 95Control and Coordination of Movement page 74 Control and Coordination of Movement All activities of Practical Life help the… |
Sequence 36Montessori: Now More Than Ever page 134 anxiety, depression and so forth? This is almost a rhetorical question for everyone… |
Sequence 96Control and Coordination of Movement page 74 Control and Coordination of Movement All activities of Practical Life help the… |
Sequence 8their emphasis on conscious memory. Montessori describes the learning brea.kthrough exactly as Mozart and Poincare aUude to… |
Sequence 412 "Would you like to hear 'Twinkle, Twinkle'?" "Let's listen to a minuet by Mozart… |
Sequence 6unlocks leads to nothing of interest to the child. Either the door led to something that was of great interest to the teacher… |
Sequence 230 of my existence because I can't go to a concert in New York or San Francisco or Cleveland or to the theater without… |
Sequence 244 relationships. Ditto with meals and bedtimes. Now such details can be checked and balanced to shore up the continuity of… |
Sequence 744 relationships. Ditto with meals and bedtimes. Now such details can be checked and balanced to shore up the continuity of… |
Sequence 5Then there is the preparation of the hand which receives much attention in our primary classes. In art, the hand must be able… |
Sequence 109It always reminds me of a practice of cave man who thought that if he could draw an animal he could capture its spirit. I… |
Sequence 151and some of them will be constructed by the students. A traditional high school in an urban setting may need a smaller place,… |
Sequence 82Q: I just wanted to ask if I understand correctly that Creativity with a capital "C'' would be essentially… |
Sequence 89As they grew up in adolescence, almost all of these people felt, of course, marginal, because they did not conform to the… |
Sequence 101areas but not necessarily across tlie curriculum. How do you balance it, or by balancing it are you interrupting flow? A:… |
Sequence 159from them-not just the continents and the mountains, but the trees and the oceans and your bodies. The rocks are your… |
Sequence 51All of the poem-letters to poets in this book are run under the title "Lives of a Poet." Because a real poet… |
Sequence 54What do we mean when we speak of genius? What do we mean when we use terms as abstract as "creative spirit"… |
Sequence 52classroom too, to try to keep the background noises down. Certainly there's no need for background music, in my opinion,… |
Sequence 57and understand that they have minds and have needs and wishes to communicate. They're just sort of blind to other people… |
Sequence 300farming was a romantic adventure. Then, during the war, as food was scarce, it became a very serious activity. We literally… |
Sequence 551Search for Meaning and Mihaly Csikszentmihalyi's Elements of Enjoy- ment, which describes the conditions of optimal… |
Sequence 148would not have been any need for Aristotle, his student, to address those pioneering Platonic difficulties in a likewise grand… |
Sequence 235dence of how a culture works, calling for the understanding of foreign language as a means of penetrating the cultural… |
Sequence 180170 The NAMTA Journal • Vol. 38, No. 1 • Winter 2013 ing? In the last era, people thought there was no music in rocks. But we… |
Sequence 75Control and Coordination of Movement page 74 Control and Coordination of Movement All activities of Practical Life help the… |
Sequence 135Montessori: Now More Than Ever page 134 anxiety, depression and so forth? This is almost a rhetorical question for everyone… |
Sequence 12their emphasis on conscious memory. Montessori describes the learning brea.kthrough exactly as Mozart and Poincare aUude to… |
Sequence 1612 "Would you like to hear 'Twinkle, Twinkle'?" "Let's listen to a minuet by Mozart… |
Sequence 28unlocks leads to nothing of interest to the child. Either the door led to something that was of great interest to the teacher… |
Sequence 3430 of my existence because I can't go to a concert in New York or San Francisco or Cleveland or to the theater without… |
Sequence 75Teachers: This is what you have waited for! "WALKING ON THE LINE & RHYTHMIC EXERCISES" Sheet… |
Sequence 63------------------------------------, I MUSIC THROUGH HISTORY Three series of piano recordings sponsored by N.A.M.T.A.… |
Sequence 4844 relationships. Ditto with meals and bedtimes. Now such details can be checked and balanced to shore up the continuity of… |
Sequence 62Teachers: This is what you hare waited for! Sheet Music 12 • Recording "WALKING ON THE LINE & RHYTHMIC… |
Sequence 29Then there is the preparation of the hand which receives much attention in our primary classes. In art, the hand must be able… |