Music represents a crucial issue in nineteenth-century philosophy and science. Scholars generally possessed a good musical competence and contributed to the explanation of sound perception and aesthetic enjoyment in music. Reflexions on musical psychology, in turn, influenced general theories of mind, sometimes in an impressive way. Meinong plays a remarkable role within this context. Together with Mach, Ehrenfels and Stumpf, Meinong contributed to overtake Helmholtz ’ physical-physiological theory, supporting a more comprehensive approach. He was repeatedly concerned with problems such as to- nal fusion, tone quality (Klangfarbe) and melodic perception. Although Meinong did not develop musical problems systematically, he assumed a quite original and interesting position. His ideas have been developed by some of his followers in the School of Graz.
