472:. At Berlin, he also held an adjunct appointment as director of the Institute of Experimental Psychology at Berlin. The Institute originally occupied three dark rooms, but by 1920, had moved to twenty-five rooms in the former Imperial Palace. In 1896, Stumpf presided over the Third International Congress of Psychology, and delivered the inaugural address on the relation between mind and body; he advocated an interactionalist position that opposed the popular notion of psychophysical parallelism. Finally, from 1907 to 1908, Stump served as the rector of the
364:, to a prominent family. His father was the country court physician, and his immediate family included scientists and academicians, like his grandfather, who studied eighteenth century French literature and the philosophers Kant and Schelling. Stumpf showed precocious musical talent as a child, learning the violin by the age of 7. By age 10, he had learned five other instruments and wrote his first musical composition.
33:
445:, and served as an observer in their psychological experiments. Their careful approach to a problem of aesthetics, specifically the visual appeal of rectangles of different proportions, appealed to Stumpf and reinforced the notion learned from Brentano that psychological acts or functions can be studied empirically.
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The majority of Stumpf's later work did not include sensational or interesting research, like that of Clever Hans. With the outbreak of World War I, many students left the
Institute of Experimental Psychology to fight in the war. Furthermore, the war between Germany and the allied nations disrupted
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In 1873, Stumpf returned to the
University of Würzburg as a professor in the Department of Philosophy. Although he was forced to teach all of the philosophy and psychology courses due to Brentano's forced departure from the university, Stumpf completed his first major psychological work, an
512:, along with single tones. He distinguished between phenomena and mental functions, suggesting that phenomena such as tones, colors, and images are either sensory or imaginary. Stumpf termed the study of such phenomena as
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In 1903 and 1904, Stumpf was involved in two well-publicized debunking episodes related to sensational phenomena. First, an engineer from Prague claimed to have invented a machine that could change photographs of
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examination of visual perception, particularly depth perception. He proposed a nativist explanation for depth perception, and his book has been cited as an outstanding early contribution to the debate between the
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because he considered both the substance and methods of science important to philosophy. After two semesters of studying with
Brentano and with encouragement from his mentor, he transferred to the
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340:(1911). He held positions in the philosophy departments at the Universities of Göttingen, Würzburg, Prague, Munich and Halle, before obtaining a professorship at the
518:. He did a wide range of studies of the phenomenological characteristics of the sounds of different instruments, the determinants of melody, tonal fusion, and the
496:), in 1875. Originally meant to be a four volume set, the first two volumes were published in 1883 and 1890, but the majority of the third volume was published as
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into sound. Stumpf, after attending a demonstration, wrote an article challenging its legitimacy, causing it to never be heard about again. However, the case of
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of tones. This research was made possible by the excellent collection of acoustic devices at the
Institute of Physics. Stumpf's work on phenomenology influenced
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Soon after, Stumpf was granted a position as an instructor at the
University of Göttingen in the Department of Philosophy. There Stumpf met
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Stumpf was sickly as a child so his early education was conducted at home with his grandfather as his tutor. Stumpf attended the local
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Fréchette, Guillaume; A. Shand (2019). "The
Origins of Phenomenology in Austro-German Philosophy: Brentano and Husserl".
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Verhältniß des
Platonischen Gottes zur Idee des Guten (The Relation of the Platonic God to the Idea of the Good)
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In 1869, he entered a seminary, intending to be a
Catholic priest. However, he disagreed with the dogma of the
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views of perception. He disputed the
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Stumpf, C.: 'The
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or a "partial presentation", one that must be experienced as part of a broader presentation.
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Stumpf, C.: 'Tone Psychology: Volume I', ed. and trans. Robin D. Rollinger. Routledge, 2019.
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in 1921 and was succeeded as director of the psychological institute by his former student,
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Carl Stumpf – From Philosophical Reflection to Interdisciplinary Scientific Investigation
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many professional relationships he had with other psychologists. Stumpf retired from the
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Carl Stumpf – Eine Biografie. Von der Philosophie zur Experimentellen Psychologie
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so he returned to the University of Göttingen for his doctorate. He was awarded
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Academic staff of the Martin Luther University of Halle-Wittenberg
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State of Affairs. Reconstructing the Controversy over Sachverhalt
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State of Affairs. Reconstructing the Controversy over Sachverhalt
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The Routledge Handbook of Franz Brentano and the Brentano School
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In 1894, Stumpf was appointed to the chair of philosophy at the
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Philosophy from an Empirical Standpoint: Essays on Carl Stumpf
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Short biography, bibliography, and links on digitized sources
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Academic staff of the Ludwig Maximilian University of Munich
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and one studying law. Then, in his third semester, he met
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Hergenhahn's An Introduction to the History of Psychology
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Stumpf began his work on the sensation and perception of
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On the Psychological Origin of the Presentation of Space
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C. Stumpf, "Erscheinungen und psychische Funktionen",
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for philosophy in 1870 after completing his thesis on
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964:Bonacchi, S. and Boudewijnse, G.-H. (eds.), 2011:
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384:at the age of 17. He spent one semester studying
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461:(1873). He argued that the status of space is
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661:Immanent Realism: An Introduction to Brentano
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839:. Berlin: Springer Nature. p. 116.
732:, Fourth Edition, McGraw-Hill Co., 2004.
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265:Berlin School of experimental psychology
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1016:"Classics in the History of Psychology"
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1010:History of Psychology in Autobiography
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770:. London: Wiley Blackwell. p. 5.
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623:History of Psychology in Autobiography
278:before receiving his doctorate at the
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804:James, William; Stumpf, Carl (2020).
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673:Stanford Encyclopedia of Philosophy
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1696:20th-century German psychologists
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629:, "An Essay in Formal Ontology",
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1168:Generative theory of tonal music
863:Kriegel, Uriah (16 March 2017).
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643:Padilla Gálvez, Jesús (2021).
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932:Concepts: A Critical Approach
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749:Autobiography of Carl Stumpf
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171:Other academic advisors
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1629:This Is Your Brain on Music
1608:Music, Thought, and Feeling
1594:Musicae Scientiae (journal)
504:observations. He discusses
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1691:19th-century psychologists
1402:Neuronal encoding of sound
1372:Melodic intonation therapy
1080:Culture in music cognition
978:Padilla Gálvez, J., 2021:
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776:10.1002/9781119210054.ch16
380:, before enrolling at the
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1128:Consonance and dissonance
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1133:Deutsch's scale illusion
961:. Munich/Vienna: Profil.
899:. Springer. p. 40.
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352:Carl Stumpf was born in
1273:Speech-to-song illusion
1085:Evolutionary musicology
498:Konsonanz und Dissonanz
406:University of Göttingen
280:University of Göttingen
94:20th-century philosophy
78:University of Göttingen
1736:German music theorists
1622:The World in Six Songs
1565:William Forde Thompson
1321:Musical hallucinations
692:Henley, Tracy (2019).
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591:, BRILL, 2015, p. 153.
382:University of Würzburg
330:comparative musicology
276:University of Würzburg
1427:Systematic musicology
730:History of Psychology
649:. Philosophia Verlag.
530:Sensational phenomena
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1070:Cognitive musicology
893:Bader, Rolf (2018).
659:Liliana Albertazzi,
564:Works in translation
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470:University of Berlin
342:University of Berlin
338:The Origins of Music
292:University of Berlin
284:modernist literature
1686:Music psychologists
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1412:Philosophy of music
1407:Performance science
1352:Aesthetics of music
1326:Musician's dystonia
1311:Auditory arrhythmia
1198:Melodic expectation
427:mathematical axioms
417:papal infallibility
304:psychology of tones
142: (summer 1868)
1579:Books and journals
1500:Carol L. Krumhansl
1218:Music and movement
1173:Glissando illusion
1153:Exercise and music
997:Virtual Laboratory
957:Sprung, H., 2006:
362:Kingdom of Bavaria
294:, and worked with
116:School of Brentano
104:Western philosophy
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1387:Musical acoustics
1263:Sharawadji effect
1243:Musical semantics
1213:Music and emotion
1113:Auditory illusion
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906:978-3-662-55004-5
876:978-1-317-69054-2
846:978-3-030-75784-7
815:978-3-11-052461-1
705:978-1-337-56415-1
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181:Doctoral students
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1587:Music Perception
1530:Richard Parncutt
1515:Leonard B. Meyer
1465:Jane W. Davidson
1450:Jamshed Bharucha
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1123:Background music
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1357:Bioacoustics
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1442:Researchers
1148:Entrainment
627:Barry Smith
547:Later years
541:Clever Hans
537:sound waves
439:Ernst Weber
398:Anton Marty
394:empirically
354:Wiesentheid
321:as well as
312:Kurt Koffka
244:Carl Stumpf
231:Sachverhalt
50:Wiesentheid
25:Carl Stumpf
1645:Categories
1545:Max Schoen
1495:Nina Kraus
1455:Lola Cuddy
1392:Musicology
952:References
455:empiricist
386:aesthetics
348:Early life
323:Kurt Lewin
319:psychology
300:perception
209:Psychology
193:Kurt Lewin
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368:Education
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358:Franconia
74:Education
52:, Germany
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835:(2021).
451:nativist
205:Ontology
1367:Hearing
1138:Earworm
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768:(PDF)
577:Notes
486:tones
378:Plato
936:ISBN
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791:2021
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