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What I can say is that the MBSR program has been around for 30 years and there have been hundreds of clinical trials indicating that it is effective for reducing stress and many (though not all) clinical symptoms.

All the participants in our study went through the Mindfulness Based Stress Reduction course (MBSR) developed at the Center for Mindfulness

I can't stop thinking/my mind won't calm down/"Unusual phenomena" bother me when I meditate/I can't meditate—what should I do? OR When I meditate, I experience "unusual phenomena". What is going on? Is this an advanced state?

Research examining student achievement in block-scheduled schools compared to traditional schools showed mixed and inconclusive results

Most research about block scheduling and classroom instruction, as with research on school climate, used student, teacher, and parent questionnaires and surveys.

remember books. Books challenge and improve memory

(The book will kill the cathedral, alphabet will kill images).

During the sixties, Marshall McLuhan wrote his The Gutenberg Galaxy, where he announced that the linear way of thinking instaured by the invention of the press, was on the verge of being substituted by a more global way of perceiving and understanding through the TV images or other kinds of electronic device

Up until the 15th century, the cultures of Eastern Africa lived in relative isolation, building up kingdoms and empires, spreading agriculture and civilization throughout the region.

n the 15th century, the Portuguese began exploring the coast of East Africa, seeking to seize control of the spice trade from the Muslim presence in the Middle East. Islamic resistance to this led to a large-scale Arab colonization of the coast, which lasted until European colonialism began in earnest in the 19th century.

There are hundreds of languages spoken throughout East Africa, ranging from those spoken by only a few thousand to those spoken by millions. The most widely-spoken language, by far, is Swahili, with more than 5 million native speakers, and millions more who speak it as a secondary trade language. The island nations of East Africa, such as Madagascar, do not speak Swahili, instead speaking their own native languages, such as Malagasy.

The term authenticity has been applied to music in various ways. It might be used to describe a piece of music (recorded, notated, performed); the process by which the music is taught and learned ( through recordings, live models, notation); or the manner in which it is performed (venue, dress, behaviors).

In other words, authenticity lies within the perceptions of the individual.

Anthony Palmer, who teaches music education at Boston University, has said that music with "absolute authenticity" is performed (a) by and for members of the culture; (b) in a typical setting, as determined by the members of the culture; (c) with instruments specified by the creator(s) of the music; and (d) in its original language.[ 8] Inarguably, and as Palmer recognizes, attaining this level of authenticity is impossible in a school music program (unless we consider "school music" residing within a unique culture of its own). In school, music is separated from its primary source many times over. Music is passed from its primary source (composer, grandmother) to an intermediary (arranger, performer, notation, recording) and channeled through a publisher or presenter to the teacher and finally to students. To confound matters, there are variants of melodies, lyrics, dances, games, and performance styles.

Deep-listening experiences, wrapped in a pedagogy of music listening, take students far beyond the surface of their barely noticeable surround-sound environment and into the nature of music and its workings.

Attentive-listening experiences occur when teachers point out specified points of focus, put questions or challenges to the listeners, or merge graphics or visuals with the sound experience itself. Graphs or maps of particular musical features can be helpful, since visual cues may enhance listening. Teachers can provide diagrams of the contours of the melody or depict rhythmic components of a piece through iconic symbols-staff notation, splotches of color, or geometric shapes, for example. Instruments, real or illustrated, can focus student attention on their entrance or continuing presence in the music.

Engaged listening invites listeners to enter into the groove or the flow of the music, pick a part to contribute, and consequently feel more involved in the music. A phenomenon of "participatory consciousness"[ 5] unfolds as engaged listeners find their place in the music, find something in the music to hang on to (a melody, a pulse, an ostinato, a groove), and select a contribution to make back to the music. In this way, they connect with the music, joining the recorded musicians and their live participant-colleagues in a musical team.