Developing Mind 1st edition Notes

from the "Representations" chapter (1st ed, taken 11/13/12 at 11:52am):

p.164 -  modules of the mind create and handle specific kinds of representations:

• sensory
• perceptual
• abstract reasoning
• conceptualization of other minds

-  these different perceptual modules/processes can become linked within a single experience

--> What are the different "modules" which are activated in playing the piano and/or giving/taking a piano lesson?

Sensory (Perceptual includes memories of past sensations)

• sight: 
• the notes on the page 
• the piano keys 
• the room/environment 
• the student/teacher 
• (the "audience")
• hearing 
• environmental and/or "silence" 
• the physical instrument (mechanism/action of piano) 
• fingernails on keys
• pedal noise
• Attack Sustain Decay Release of sound
• frequencies
• timbre
• touch
• fingers on keys
• butt on seat
• feet on pedals/floor
• (smell)
• (taste)

What are the points of convergence/divergence with Buddhist classification of 7 mind types and/or dualities of the mind?

p. 165 - Internal sensations (bodily motion, states of arousal, temperature, muscle tension) are "especially integrated on the right side of the brain"

p.166 - these, I think, would still be considered "symbols" because they are neuronal interpretations of the thing itself

- there are "presymbolic" representations which are closer to thing itself (The Mind Only School in Tibetan Buddhism would have something to say about this)

p.167 - all these would be considered "prelinguistic"

- a concept is also prelinguistic (ex. freedom, justice, categories like "mammals", etc.)

p.168 - Linguistic Representations: how much of these are needed for music/making/learning?

Question: what are the generalized imbalances in our culture today and how can they be described mentally/neurobiologically?

--> knowing these imbalances, and knowing the mental/neurological correlates/substrates of music-making/learning, we can emphasize aspects of the playing/learning process which could correct the imbalance! 

To what extent could the case be made for compulsory musical education? . . .or . . . are there ways to teach compulsory subjects such as reading, writing, and math in more musical and therefore more effective ways?