The assumption that sensory perception and aesthetic experience are based on central-nervous functions gives rise to the question how neurobiology substantiates polyaesthetic phenomena. Such considerations involve the traditional mind-body dualism – by way of illustration, whether neurophysiological dynamics generate mental phenomena, or if they rather belong to parallel worlds that are profoundly interconnected, although related mechanisms are still unclear. The present opinion essay gives insights into neuroscientific perspectives of constructivism, which is an important, though diversely discussed topic in German music education: Which brain areas contribute to the puzzle that eventually shapes holistic artistic experience? While these considerations do not suffice to plausibly elucidate the nature of polyaesthethics, sensory integration areas such as the insular cortex or the parietal association cortices shed light on this very problem.
Moreover, interactive dynamics between distinct neural network systems help to understand (poly-) aesthetic meaning and significance. Roscher’s music educational, aesthetic and philosophical thinking involved the (hidden) notion of non-linear polyaesthetics that differs considerably from principles of formal logic. Moreover, the rationale behind his concept of polyaesthetics relates to ontological interdependencies as well as the simultaneous existence of different phenomena and states. Similarities to basic principles of quantum physics such as entanglement or superposition are baffling and encourage further in-depth analyses. Quantum-neurosciences come into play, particularly recent approaches such as quantum spirit as well as comparative studies on central-nervous information processing and quantum computing. Interdisciplinary neuro-polyaisthesis seems to be facing a challenging future.