La raccolta di contributi analizza alcuni dei temi più significativi dell’opera dello psicologo e filosofo Paolo Bozzi.

This essay illustrates the main aspects of the discussion between Brentano and Stumpf about «tonal fusion». In his Tonpsychologie, Stumpf essentially moved from a Brentanian standpoint. Yet, he did not adopt Brentano’s subsequently developed new theory of «sensible qualities», so that a polemic eventually arouse between them. Far from representing a marginal issue, the episode is relevant to our understanding of their relationship. The discussion as to the mechanism of tonal fusion reveals a general divergence between Brentano and Stumpf concerning (...) the idea of human sensibility as a whole and of the method of psychology. (shrink)

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fourteen original studies (in English and German) on the various aspects of Stumpf's philosophy, and some of his unpublished writings.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. (shrink)

Kant is not typically considered a major figure in the just war tradition's canon, although his work has informed recent discussions about international justice and just war theory. More specifically, philosophers have suggested that Kant's work may provide a coherent, normatively practical just war theory, basing this claim, in the main, on his views on the goal of peace and its purpose of establishing a cosmopolitan civil society.1 Such discussions are mostly concerned with jus ad bellum and jus in bello (...) constraints on nations and how Kant's writings can guide deliberation and, perhaps, the considered policy and practices of governments. Yet, the fact remains that it is embodied men and women and not the metaphysical ?nation? who actually conduct war. Hence, this paper seeks to determine the extent to which Kant's thought might contribute to the moral deliberation of those individuals who a fortiori will be bound to jus in bello constraints. To this end, the idea of moral learning will be explored, emphasizing the Kantian idea of autonomy. The ultimate goal of this paper is to demonstrate how some aspects of Kant's thought would contribute to ethics education in a military academy. (shrink)

Meditation comprises a series of practices mainly developed in eastern cultures aiming at controlling emotions and enhancing attentional processes. Several authors proposed to divide meditation techniques in focused attention and open monitoring techniques. Previous studies have reported differences in brain networks underlying FA and OM. On the other hand common activations across different meditative practices have been reported. Despite differences between forms of meditation and their underlying cognitive processes, we propose that all meditative techniques could share a central process that (...) would be supported by a core network for meditation since their general common goal is to induce relaxation, regulating attention and developing an attitude of detachment from one’s own thoughts. To test this hypothesis, we conducted a quantitative meta-analysis based on activation likelihood estimation of 10 neuroimaging studies on different meditative techniques to evidence the core cortical network subserving meditation. We showed activation of basal ganglia , limbic system and medial prefrontal cortex . We discuss the functional role of these structures in meditation and we tentatively propose a neurocognitive model of meditation that could guide future research. (shrink)

Resumo Este artigo demonstra a recepção do pensamento de Friedrich Nietzsche pela poesia de Augusto dos Anjos, poeta brasileiro que, em vida, publica sua única obra intitulada Eu. A tragicidade com que o poeta opera, ironicamente, as máscaras que veste e despe ao longo de sua obra ; a força apolínea com que desenha as imagens que carregam uma musicalidade tão dilaceratória e incandescente são estratégias essenciais da poesia angelina que, certamente dialogam com a filosofia poética de Nietzsche.: This article (...) demonstrates the reception of Friedrich Nietzsche's thought by the poetry of Augusto dos Anjos, a brazilian poet who publishes his single poetic work Eu in 1912. The tragic principle wherewith the poet ironically operates the masks he wears and undresses throughout his work ; the apolinean energy with which he draws the images that carry such a lacerating musicality are essential strategies of Augusto dos Anjos´s poetry that certainly dialog with Nietzsche's poetic philosophy. (shrink)

This article is a discussion of the critical remarks raised by Kristian Bankov in a notion called Bankov’s razor, about some foundational elements of the biosemiotic paradigm. The elaborated form of the “razor” includes three main questions on biosemiotic ideas, namely: 1) the philosophical grounds of the biosemiotic discourse, 2) the scientific output of biosemiotics, and 3) the ethical consequences of some biosemiotic presumptions (this latter, given its scopes and extension, is left for a future occasion). Such questions are commented (...) and challenged by Dario Martinelli, from a point of view that is primarily that of the zoosemiotician, therefore an insider of biosemiotics. In order to set the readers’ expectations in the right direction, it shall perhaps be fair to inform them that the style of the article is rather sui generis, and can hardly be classified within the genre of academic essays. Tones and terminology are more reminiscent of a philosophical pamphlet written in dialogical form. Hopefully, this choice will not compromise the scientific content of the article. (shrink)

(2005). George R. Lucas, Jr. & W. Rick Rubel's (Eds) Ethics and the Military Profession: The Moral Foundations of Leadership and Case Studies in Military Ethics. Journal of Military Ethics: Vol. 4, No. 3, pp. 214-219. doi: 10.1080/15027570500197453.

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. (shrink)

In his Spinozastudien Stumpf dismisses the commonplace interpretation of Spinoza’s parallelism in psychophysical terms. Rather, he suggests to read Ethics, II, Prop. 7, as the heritage of the scholastic doctrine of intentionality. Accordingly, things are the intentional objects of God’s ideas. On this basis, Stumpf also tries to make sense of the puzzling spinozian doctrine of the infinity of God’s attributes. In support of this exegesis, Stumpf offers an interesting reconstruction of the history of intentionality from Plato and Aristotle to (...) the late Scholastics. Besides its intrinsic value, Stumpf’s confrontation with Spinoza is illuminating in explaining his own position concerning a crucial phenomenological question such as intentionality. Actually, Stumpf avoids defining the mental in terms of intentionality and maintains, rather, a moderate but professed dualistic position, thus deeply diverging from both Brentano and Husserl. (shrink)

Dario Martinelli’s compact and enjoyable treatise on zoömusicology, _Of Birds, Whales and Other Musicians_ introduces musicologists, biologists, social scientists, and philosophers to a new theoretical model for studying how animal behavioral patterns relate to sound communication. Organized by musical trait rather than animal species, and drawing upon the work of such esteemed philosophers as Umberto Eco, Charles Sanders Peirce, and Thomas Sebeok, Martinelli’s analyses redefine the boundaries surrounding music and help readers—scholars and amateurs alike—to appreciate the relationship between (...) animals and musicological exchanges. (shrink)

This essay addresses the interrelations between philosophy and experimental sciences that lie at the heart of Carl Stumpf’s epistemology. Following a biographical exposé demonstrating how Stumpf succeeded in acquiring a dual competence in both philosophical and scientific fields, we examine the vast array of academic disciplines encompassed by his research. Such a biographical treatment aims, indeed, to better promote the thrust of Stumpf’s assertion that philosophical enquiries should always be carried out in close connection with scientific practices, and underlines how (...) philosophico-scientific interactions established his work as a central pillar in the history of late nineteenth- and early twentieth-century German thought. (shrink)

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. (shrink)

Traduzione del saggio di S. Witasek Zur allgemeinen psychologischen Analyse des musikalischen Genusses.

Peirce’ s intellectual debt to Kant’ s transcendentalism has been long recognized. In this essay I investigate Kant’ s thoughts on “what is pragmatic” as a source of inspiration for him. Peirce was well acquainted with this often neglected facet of Kant’ s philosophy, that influenced both the core idea and the lexical coinage of his pragmatism. Both thinkers drew attention to the consequences of cognition for human actions. Pointing at the definition of the meaning of a defined notion, however, (...) Peirce narrows remarkably the domain of Kant’ s “pragmatic horizon”. Accordingly, Kant cannot be truly considered a forerunner of Peirce’ s pragmatism. (shrink)

In his first two Critiques, Kant makes a distinction between the empirical and the intelligible character. Yet, in his Pragmatic anthropology Kant adds the human beings’ “natural aptitude” to the customary dichotomy of “way of sensing” and “way of thinking”. In this paper, I investigate Kant’s concept of natural aptitude in his Pragmatic anthropology and in his Lectures on anthropology. Most probably, Kant’s sources lie in the Scholastic doctrine of the “character of scholars”. The “good mind” that Kant associates with (...) the human beings’ natural aptitude – in sharp contrast with the autonomy implied by moral character – nevertheless reveals its significance in compensating for the human species’ “pragmatic predisposition”. To some extent, then, natural aptitude contributes to the pursuit of nature’s providential goals. (shrink)

This essay is about the Wolfgang Köhler’s philosophical ideas expressed in his The Place of Value in a World of Facts of 1938. Köhler, who strongly supports a scientific world view, considers the question as to whether science is able to cope with human values, besides natural facts. Relying upon phenomenological analyses, and on his previous researches in natural philosophy, Köhler introduces his doctrine of “epistemological dualism”. From a historical point of view, this theory exhibits some similarity with the philosophical (...) ideas expressed by Köhler’s Berlin mentor Carl Stumpf. It is argued that Köhler’s epistemological dualism actually supports ontological monism and aims at offering a unified view of natural facts and human values. (shrink)

The essay investigates the question of the transition from a physiological view of anthropology to one ‘from a pragmatic point of view’ in the work of Immanuel Kant. The concepts this thinking hinges on are those of ‘prudence’ and ‘character’, which are crucial for the break that Kant’s anthropological thought represents with that of earlier and later philosophy.

Stumpf’s doctrine of the categories is of great importance for our understanding of his philosophy. This theme had been widely discussed among German thinkers after Kant; Brentano himself had repeatedly dealt with it since his early works. However, Stumpf considerably diverges from Brentano on this crucial philosophical topic. Although a systematic discussion can be found only in Stumpf’s posthumous Erkenntnislehre, his core ideas on the categories can be traced to his early work on space of 1873. In fact, Stumpf claims (...) that the peculiar relationship between extension and color is analogous to the relationship that holds between substance and accidents. Thus, like any other category, substance empirically stems from perception. Sensory experience, for Stumpf, is made up of perceptual wholes, whose attributes are typically bound to each other, rather than separately given in bundles, as Hume and other associationists used to assume. Thus, the achievements of Stumpf’s holist psychology effectively contributes a solution to this classic metaphysical problem. (shrink)

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. (shrink)

Together with other influential psychologists of the time, Wundt considers internal data as absolute evidence, grounding psychology on this assumption. In opposition to his former mentor, Külpe aims at rehabilitating Kant’s transcendental aesthetics. Yet, he is far from embracing transcendentalism and rejects Kant’s skepticism as to the possibility of a scientific psychology. Nevertheless, Külpe believes that Kant is right in considering internal data as unreliable for scientific purposes: accordingly, psychology should share the same scientific methodology of any other science.

The purpose of the present article is to illustrate the crucial role played by the Umwelt theory in zoomusicological (and, more generally, zoosemiotic) studies. Too much, in fact too little, has been written on the relationship between non-human animals and music. Most of these writings do not explicitly aim at contributing to the actual problem (a good example being the reflections on birdsong contained in John Locke’s Essay Concerning Human Understanding). Some are, so to speak, a little folkloristic, quite a (...) few broach the problem in strictly scientific terms, and very few take a clearly zoomusicological approach. In an attempt to understand all the possible ways in which the problem can be analysed, it turns out that all these contributions — in spite of their reciprocal diversity — have points in common, leading to three main categories of approach: discontinuity, gradualism, and pluralism (or Umwelt theory). The discontinuist attitude is by definition opposed to the intent of a zoomusicological research, which in fact defends the thesis that music is not specific only to humans. On the other hand, one might share the gradualist assumption that musicality departs from a basis common to many animal species (at least, all those provided with vocal apparatuses). However, such a basis cannot be interpreted as monolithic (i.e., as having developed in a unique and indivisible way), carrying, as a result, qualitative differences in music between species. For the above-mentioned reasons, and for others to be illustrated in the present paper, it becomes clear that the approach to zoomusicology must necessarily be pluralistic. The most suitable framework seems to be that postulated by Jakob von Uexküll, and known as the theory ofUmwelt. (shrink)

Hegel’s treatment of character in §395 of Encyclopedia is considered together with the commentaries given in his lectures. In these texts Hegel addresses some philosophical problems concerning character. In Hegel’s view, in fact, human character has a “natural basis” and yet depends on a free individual choice. Attention is drawn at Kant’s treatment of the same subject matter in Anthropology form a pragmatic point of view, which is the source of Hegel’s tripartite arrangement of Naturell, temperament and character. Diverging from (...) Kant, however, Hegel introduces a dialectic development within the development of character. (shrink)

This essay aims at an analysis of Stumpf’s doctrine of categories. In Erkenntnislehre Stumpf argues that all categories empirically stem from outer and inner perception. Although Stumpf champions an empiricist explanation of the matter, he firmly rejects associationism. In his conception of the origin of categories, including substance, Stumpf builds on the assumption that human perception behaves dynamically. Sensory experience consists indeed essentially of perceptual wholes. The analysis of Stumpf’s theses is of great importance for our thorough understanding of his (...) philosophy. His theory regarding this crucial philosophical topic diverges considerably from Brentano’s. (shrink)

The paper compares the ideas developed by Bozzi and Stumpf with regard to unity, identity, and causality. Although Bozzi’s formulation is independent from the one made by Stumpf in his Erkenntnislehre, these two positions share the same innovative importance granted to perceptual experience and to the problem of the origin of categories. Thus, despite different levels of awareness and formalization, in both authors we see the features of what we can call – analogous- ly to Bozzi’s naïve physics – a (...) “naïve metaphysics”, at whose core lie the refusal of intellectualism, and the determination of the origin of categories in the concrete stream of perception. (shrink)

This essay addresses the attitude of some leading Neo-Kantian philosophers toward scientific psychology and psychophysics. Early influential figures like Friedrich A. Lange counted Gustav T. Fechner’s psychophysical law among their allies in the rehabilitation of the Kantian standpoint. Later on, however, Neo-Kantian philosophers firmly rejected psychological measurement as a whole and harshly criticized the methods adopted by several psychologists of their time. For example, the Marburg mathematician and philosopher August Stadler reduced the validity of Fechner’s law to the mere physiological (...) sphere, and Hermann Cohen conceived the application of mathematical integration to human sensations as an inane enterprise. (shrink)

Can music express the world-view of a certain composer, or of a certain historical era – and how? In 19th Century, the wide-ranging philosophical implications of this question raised an intriguing quarrel between the formalists’ scepticism as to this point and their various opponents. Starting from the case study of the German psychologist and philosopher of music Georg Anschütz, it is argued that allowing for a systematic link of music and the world-views easily turns into the far more demanding claim (...) that music is the best and perhaps the only way to express them properly. In turn, this attitude sits well with the tendency to think of music hearing as a disembodied process, hinting at the deep dimension of synesthesia rather than to that of music as a cultural phenomenon, in Erich Hornbostel’s sense. (shrink)

In this essay I analyze Kant's concept of character in the light of the concept of nature adopted in Kant's Pragmatic anthropology. In the Preface, Kant contrasts mechanical nature with freedom and opts for a pragmatic, rather than a physiological anthropology. In the Anthropological characteristics, however, Kant introduces his teleological concept of nature. Accordingly, he defends the view that there is no basic contrast between the purpose of nature (in the latter sense) and human freedom.

Oswald Külpe’s original interpretation of Kant’s philosophy influenced Külpe’s own philosophical thought. On the one hand, Külpe is critical of his illustrious predecessor. For him, in fact, Kant wrongly denies that human thought can address itself to truly non-intuitive objects; furthermore, his transcendental aesthetics is uterly misleading. Interestingly, both claims are supported by Külpe with reference to the psychological research of the time. On the other hand, however, Külpe is highly sympathetic with one of Kant’s central assumptions, namely the unreliability (...) of the internal sense. Against Wundt and other psychologists of his time, Külpe conceives of the epistemological foundations of psychology in accordance with the rehabilitation of this Kantian claim. (shrink)

_Posthuman Bliss? The Failed Promise of Transhumanism_ by Susan B. Levin presents a well-informed and structured critique to transhumanism. Not only transhumanist ethical and sociopo-litical applications are challenged: the theoretical assumptions and implications of transhumanism are made explicit and put into discussion, thereby confronting transhumanism as a worldview of its own, from metaphysics, to epistemology, to philosophy of mind, down to ethics and politics. This worldview is then constantly put to the test of Levin’s own Aristotelian essentialist framework, which sees (...) the human being as a holistic whole and our role in the world as the complex process of attaining human flourishing. First, I will spend a few words to frame the general aim of the book and to delineate the main contents of the seven chapters. After that, I will deal critically with four interesting focal points, where further research may be prompted or the standpoint of the author may be challenged: the attribution of (rational) essentialism to transhumanism, the definition of well-being underlying transhumanist positions, the apparent tension between the sociopolitical im-plications of transhumanism and its cultivation of radical personal autonomy, the critical evaluation of Levin’s American-centered adaptation of her Aristotelian virtue-ethics approach. (shrink)

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. (shrink)

The article stems from the acknowledgment of the popularity of The Beatles’ faces within popular music and popular culture altogether. Unlike some contemporary and successive male rockstars, the band focused their aesthetic appeal entirely on the faces, omitting other body parts, and therefore keeping astray from a “sex symbol” status in a conventional, eroticized sense. The article analyses the cultural role of The Beatles’ faces in terms of aesthetic features, face expressions, face performances, and extensions/prostheses. These parameters are applied to (...) the chronological development of the face looks adopted by The Beatles during their activity and to the case study of those album covers featuring face close-ups of the band. Additional notes are presented in the area of face representation within the band’s musical repertoire. (shrink)

In a renowned essay, Odo Marquard’s set a cornerstone in defining anthropology from a history of concepts point of view. In the light of more recent researches, some of his conclusions are here reconsidered and criticised. The concept of anthropology, as developed by Herder, Kant, Wilhelm von Humboldt, romantic philosophers and physicians, and finally by Hegel and some of his followers, offers no evidence for Marquard’s alleged opposition between anthropology and philosophy of history. On the one side, in Kant’s or (...) Hegel’s work anthropology is not as peripheral as Marquard argued; on the other side, romantic anthropologists developed a deep interest towards historical perspectives. Rather, anthropology was quite often considered as a nonmetaphysical alternative to psychology. These results also suggest a revision as to the role of anthropology on a broader historical scale. (shrink)

An Introduction to Carl Stumpf's influences over other philosophers.

An Introduction to the main themes of Carl Stumpf's Philosophy.

When not ignored by scholars, Lotze’s logic is understood as an example of either psychologism or Platonism. As a matter of fact, despite his allowance for the topic of the origin of concepts, Lotze manages to avoid logical psychologism. At the same time, concepts cannot be said to have validity in the same way as propositions in themselves do: were this the case, one could actually ascribe Lotze a form of Platonism. Avoiding the crass dichotomy between realism and nominalism, Lotze (...) works out a meticulous analysis of the relation between general concepts and our knowledge of reality, which is perfectly compliant with his teleological worldview. (shrink)

The purpose of the present article is to illustrate the crucial role played by the Umwelt theory in zoomusicological (and, more generally, zoosemiotic) studies. Too much, in fact too little, has been written on the relationship between non-human animals and music. Most of these writings do not explicitly aim at contributing to the actual problem (a good example being the reflections on birdsong contained in John Locke’s Essay Concerning Human Understanding). Some are, so to speak, a little folkloristic, quite a (...) few broach the problem in strictly scientific terms, and very few take a clearly zoomusicological approach. In an attempt to understand all the possible ways in which the problem can be analysed, it turns out that all these contributions — in spite of their reciprocal diversity — have points in common, leading to three main categories of approach: discontinuity, gradualism, and pluralism (or Umwelt theory). The discontinuist attitude is by definition opposed to the intent of a zoomusicological research, which in fact defends the thesis that music is not specific only to humans. On the other hand, one might share the gradualist assumption that musicality departs from a basis common to many animal species (at least, all those provided with vocal apparatuses). However, such a basis cannot be interpreted as monolithic (i.e., as having developed in a unique and indivisible way), carrying, as a result, qualitative differences in music between species. For the above-mentioned reasons, and for others to be illustrated in the present paper, it becomes clear that the approach to zoomusicology must necessarily be pluralistic. The most suitable framework seems to be that postulated by Jakob von Uexküll, and known as the theory ofUmwelt. (shrink)

The purpose of the present article is to illustrate the crucial role played by the Umwelt theory in zoomusicological (and, more generally, zoosemiotic) studies. Too much, in fact too little, has been written on the relationship between non-human animals and music. Most of these writings do not explicitly aim at contributing to the actual problem (a good example being the reflections on birdsong contained in John Locke’s Essay Concerning Human Understanding). Some are, so to speak, a little folkloristic, quite a (...) few broach the problem in strictly scientific terms, and very few take a clearly zoomusicological approach. In an attempt to understand all the possible ways in which the problem can be analysed, it turns out that all these contributions — in spite of their reciprocal diversity — have points in common, leading to three main categories of approach: discontinuity, gradualism, and pluralism (or Umwelt theory). The discontinuist attitude is by definition opposed to the intent of a zoomusicological research, which in fact defends the thesis that music is not specific only to humans. On the other hand, one might share the gradualist assumption that musicality departs from a basis common to many animal species (at least, all those provided with vocal apparatuses). However, such a basis cannot be interpreted as monolithic (i.e., as having developed in a unique and indivisible way), carrying, as a result, qualitative differences in music between species. For the above-mentioned reasons, and for others to be illustrated in the present paper, it becomes clear that the approach to zoomusicology must necessarily be pluralistic. The most suitable framework seems to be that postulated by Jakob von Uexküll, and known as the theory ofUmwelt. (shrink)