Bauhaus-Universität Weimar

The preceding chapter was an attempt to introduce the reader to 
the psychology of music by showing how this science describes 
and explains musical phenomena in terms of the musical medium. 
Let us now seek further insight into this new field of applied science 
and art, and obtain a bird’s-eye view of the ground which lies before 
us. A full science of music cannot be written in one or in a small 
number of volumes. It therefore is necessary to select a specific 
point of view and recognize important limitations of the subject 
treated in this volume. 
1. The subject is limited to a scientific approach. Description 
and explanation in music draw upon several sciences: primarily, 
physics, mathematics, physiology, anatomy, anthropology, and 
psychology, as well as the history and theory of musical practice. 
But it has come to be a function of the psychologist, as a student of 
human experience and behavior, to integrate these under the gen¬ 
eral concept of the “psychology of music.” Although there may be 
much practical wisdom in popular psychology, resting on loose 
theory not suitable for verification by scientific method, such topics 
are excluded, and so is also the legitimate subject of philosophy of 
2. It is limited to those topics which are peculiarly amenable to 
treatment in the psychological laboratory, thus excluding problems 
specific to other sciences, such as physics, physiology, and mathe¬ 
matics, except as accessories. 
3. It is further limited to the treatment of topics on which the 
author has firsthand experience, emanating directly or indirectly 


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