Riccardo Martinelli

The work of Theodor Waitz is an important but hitherto unnoticed source of Dilthey’s concept of ‘human sciences’. Waitz was an outstanding philosopher and psychologist who, in the late 1850s, devoted himself wholeheartedly to empirical anthropology. In this field Waitz distinguished himself for his defence of the unity of humankind against mainstream polygenic and racial doctrines. Waitz inspired Dilthey’s articulation of psychology into two branches: the ‘descriptive’ one and the ‘explanative’ one. Even more remarkably, in a work reviewed by Dilthey in warmly favourable terms, Waitz explicitly mentioned and defined the ‘sciences which treat of the spirit ’. Some of Dilthey's most interesting ideas are thus prefigured in Waitz’s long underrated work.

Il volume analizza il problema del suono nella filosofia tedesca, dalla Critica del Giudizio di Kant alla psicologia della Gestalt. Vengono prese in esame la filosofia della natura del romanticismo e dell’idealismo, la psicologia filosofica della seconda metà del secolo e infine la scuola descrittivo-fenomenologica del primo Novecento. Il quadro che ne risulta è quello di un dibattito molto vivace che tocca fondamentali questioni di fisica acustica, psicologia della percezione ed estetica musicale, mettendo a confronto molti dei massimi autori del secolo. Tra i temi affrontati, il senso dei rapporti numerici insiti nelle relazioni tonali, l’indagine sui processi percettivi e cognitivi legati alle figure armoniche e melodiche, il significato estetico e metafisico del sentimento musicale. Sullo sfondo, le grandi trasformazioni nella prassi musicale del tempo e le notevoli conquiste della scienza acustica, delle quali i filosofi, in diversa misura, furono generalmente consapevoli.

This essay focuses on realism in ontology and on the problem of defining reality. According to the definition given by many realists, reality is independent of our thoughts, conceptual schemes, linguistic practices, etc. Yet, this merely negative definition of reality has some disadvantages: it implies a dualistic view, and it is incompatible with scientific realism. As an alternative, I introduce and discuss the traditional definition of reality as effectiveness, or capability of acting. I then attempt to determine to what extent this definition can be helpful in the debate concerning ontological realism.

Ehrenfels, Höfler and Witasek competently contributed to a musical aesthetics based upon the principles of the Graz school. In spite of a shared general psychological framework, they deeply differ in applying it to the aesthetics of music. A double tendency can be pointed out. Ehrenfels and Höfler enthusiastically supported Richard Wagner and vindicated the aesthetic value of his music. Accordingly, they made large use of analogies between musical and organic Gestalten. In a platonic vein, Höfler also thinks of melodies as timeless objects, which are discovered rather than created by great artists. On the contrary, Witasek’s approach is quite rationalistic. Avoiding any intrusion of metaphysics, he describes the intellectual and emotional processes involved in hearing a piece of music. Wholly independently of Wagnerism, Witasek explains the complexity of musical experience in the general terms of Meinongian psychology.

This is a preface to the contributions gathered in the issue. They are the outcome of two workshops held at the University of Trieste in 2014 and 2015 on the subject of pragmatics and pragmatism. Besides the obvious lexical affinity, pragmatics and pragmatism share the basic belief that practice and human action play a crucial role in the explanation of meaning and truth, but also in the solution of ethical questions, etc. The text highlights some philosophical questions related to these fields of research.

The ancient Greeks already used to give ethnic names to their different scales, and observations on differences in music of the various nations always raised the interest of musicians and philosophers. Yet, it was only in the late nineteenth century that “comparative musicology” became an institutional science. An important role in this process was played by Carl Stumpf, a former pupil of Brentano’s who pioneered these researches in Berlin. Stumpf founded the Phonogrammarchiv to collect recordings of folk and extra-European music and a dedicated journal, the Sammelbände für vergleichende Musikwissenschaft. Gifted in the field of science no less than in that of musicology, Stumpf developed an empirically-oriented approach to phenomenology, deeply divergent from Husserl’s and highly influential over the Berlin school of Gestalt psychology. A self-declared “outsider” among armchair philosophers, Stumpf experimentally investigated the perception of sounds and the origins of musical consonance. Developing the physiological studies of Ernst Weber on the sense of touch, Stumpf discovered that two sensations of tone, given at the same time, tend to mix in a certain degree. Musical consonance – he claimed – lays in this level of “tonal fusion”, not in the allegedly “natural” series of the harmonic partials of a vibrating chord, as suggested by the naturalists of all times from Pythagoras to Stumpf’s great contemporary Hermann Helmholtz. Accordingly, no musical system can claim for preponderance over the others: Stumpf’s researches in comparative musicology served to corroborate his theses on “tonal fusion” and the psychological foundations of consonance. Although Stumpf later revised and finally abandoned this theory, its permanent value lays in its opposition to dominant naturalistic approaches. The commitment for comparative musicology at the Berlin School is then no concession to a positivistic fashion for exoticism. The fundamentally Eurocentric stance of naturalistic theories of music is also fiercely contrasted by Stumpf’s pupil Erich Hornbostel, who suggests that music ought to be considered as culture, rather than as nature, and focuses attention on the eventually melting human cultures. The Berlin school flourished until the Nazis forced most of its exponents to emigration and, for tragically obvious reasons, heavily discouraged researches on these topics.

This essay focuses on the relation between man and the world in Kant’s anthropology. Within Baumgarten’s Metaphysica, used as a manual by Kant for his lessons, empirical psychology is situated between cosmology and rational psychology. However, this view is untenable for Kant, at least after the first Critique. Consequently, whereas Baumgarten explains, for instance, obscure ideas referring to the bodily position in the world, Kant’s pragmatic approach excludes this. Yet, the concept of «Welt» retains paramount importance within Kant’s Anthropology. The two parts of the work are thus harmonically linked: the first offers an account of a largely pathological human psychology; the second a way out of the pathology through the construction of a social and historical human world. Accordingly, anthropology responds to the «Weltbegriff» of philosophy and helps to correct the deviations from the final rational destination of mankind.

The purpose of this book is to highlight Carl Stumpf's contributions to philosophy and to assess some of the aspects of his work. This book brings together several specialists of Stumpf and the school of Franz Brentano, and includes fourteen original studies (in English and German) on the various aspects of Stumpf's philosophy, and some of his unpublished writings. This book is divided into four sections, and also includes a general introduction on the reception and actuality of Stumpf's philosophy. The first section examines the historical sources of his philosophy, the second examines some of the central themes of his work and the third examines his relationship to other philosophers. The fourth section consists of notes taken by Husserl during Stumpf's lectures on metaphysics in Halle, Stumpf's introduction to the edition of his correspondence with Brentano, which he prepared in 1929, and some important letters pertaining to this correspondence. This book also provides a comprehensive bibliography of Stumpf's works.

Formatosi alla lezione di Franz Brentano e di Hermann Lotze, maestro a Halle di Edmund Husserl e in seguito, a Berlino, dei fondatori della psicologia della Gestalt – Köhler, Koffka e Wertheimer – Carl Stumpf fu uno dei massimi esponenti della filosofia del suo tempo. Filosofo dai vasti interessi, ma anche psicologo di rango, attento studioso di filosofia della musica e pioniere dell’etnomusicologia, Stumpf è una figura indubbiamente originale, il cui lungo itinerario intellettuale appare sempre più imprescindibile per comprendere l’evoluzione del pensiero filosofico della seconda metà dell’Ottocento e del primo Novecento in Germania. Estraneo ai dogmi del positivismo allora imperante, ma anche alla fascinazione trascendentale della fenomenologia husserliana, Stumpf concepisce la riflessione filosofica come esercizio critico aperto all’esperienza e tuttavia capace di trascenderla per mirare alle vette della speculazione metafisica ed etica. Gli scritti qui tradotti consentono, con l'aiuto dell'apparato critico, di dare corpo all’idea di una rinascita della filosofia, che riecheggia il titolo di una conferenza berlinese di Stumpf del 1907, ma che ben si attaglia al suo progetto filosofico complessivo.