Among the few publications which consider the Scholastic roots of Brentano’s thinking, an article by Dieter Münch stands out. In it, he claims that the Aristotelian studies of Brentano and his whole philosophical project are inspired by the German Neo-Scholastic movement. Münch presents the Neo-Scholastic tendency as an ultra-conservative and reactionary program against modernity. Now, such a description makes almost inexplicable the fact that Brentano, who was educated in this context, could have developed a wholly personal and independent philosophy. To (...) approach this framework objectively, I propose to pay attention to F.J. Clemens, a Neo-Scholastic who influenced Brentano’s way of thinking. It is true that Clemens puts faith above reason and affirms that any conclusion obtained through the power of reason must be discarded when it contradicts faith. However, this is not an ultramontane innovation but simply the traditional theological point of view. He also argues that St. Thomas should be followed as a guide to orient oneself in the process of rational inquiry. Nevertheless, he doesn’t want to understand philosophy as a repetition of Aquinas’ claims; on the contrary, he rather proposes an intelligent use of tradition, which allows us to delve deeper into philosophical truth. For this very reason, he does not discard modernity or condemn it altogether. This perspective is also reflected in the early writings of Brentano, where he showed discontinuity from the Neo-Scholastic school of thought. (shrink)

The present study is a theoretical discussion concerning some of the important processes that characterize human perception, which is understood as a fundamental structure of consciousness. The aim is to acquire new insights for a better comprehension of the human experience in the world and the way individual subjects become familiar with their environment. To accomplish this task, the experience of listening to music is analysed due to the widespread acceptance of music as an important aspect of human life. With (...) reference to a various research studies and hypothesis focused on the way listeners understand music, principles of perceptual organization which allow immediate awareness of music are investigated. Particular attention is given to studies in the field of music perception and cognition. Through an analysis of the main mental processes involved, the goal is to describe several relevant aspects of how listeners understand music at the perceptual level and constitute musical meanings in a subjective manner. This constitution results in a listener’s ability to become immediately aware of their auditory experience as having a specific meaning – that of being, first of all, a musical experience. Focusing on everyday experience and exposure to music, expectation and anticipation are presented as fundamental principles that contribute to the knowledge of the auditory environment and the meaning which acoustic events acquire for a subject. An in-depth analysis of their specific features will show the different influence expectation and anticipation have on a listener’s basic perceptual comprehension of music and in the constitution of musical meanings that are subjectively characterized. Within the framework of a theoretical investigation into human processes of musical knowledge acquisition, the additional objective is to create a dialogue between empirical research results in the field of music cognition and phenomenological descriptions of the structures of human consciousness. In particular, through clarification of the specific terminology that characterizes these two fields of research, the intent is to go beyond the historical gap which has existed between them. This combination of perspectives may increase our understanding of the way human beings know the world and learn how to react to the events which they encounter. (shrink)