 That approach implies that the bodymind relationship is a changing internal relationship rather than a fixed external one. In learning to play the piano, for example, Yuasa says the novice has “the mind lead the body” to memorize the keys, but as the pianist becomes proficient, “the body leads the mind” so that it seems the “fingers know where the keys are” without the intrusion of conscious thinking, leaving the mind to concentrate more fully on the music itself. As the two circles more fully merge, the bodymind becomes capable of holistic function. That unification enables further creativity and insight—the point when the music, the mind, and the fingers touching the keyboard become a single act. That pathway to increasing bodymind unity explains how praxis and discipline are prerequisite to free expression. Yuasa explains how this integrative bodymind phenomenon is treated in various Western as well as Eastern theories including neurology, the psychology of conditioned response, psychosomatic medicine, depth psychology, phenomenologies of the body, Indian Ayurvedic medicine, kundalini yogic praxis, Japanese theories of artistry, and East Asian models of ki (qi in Chinese) within medicine and the martial arts.