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One might attack the problem [of teaching an example of nonverbal musical thinking] by setting up an explicit kinesthetic repertoire in which “thinking a pitch” takes the form of identifying a position on a keyboard. A device which arranges the necessary contingencies is under development. With its help we may discover the extent to which students can in general learn (and at what ages they can learn most effectively) to strike a key which produces a tone which has just been heard. (p. 236)