This chapter forms an introduction and a summary of the book: From Metaphysics to Culture. Music as a Factor in the Emergence of Modern Psychology 1750-1900, Springer. However, the main intellectual transformation takes place already in sixteenth century, in which the term “psychology” appears and gradually refers to how the human psyche relates to the world through sensation. The whole book is strongly focusing on the German tradition that grows out of Christian Wolff, and continues with Alexander Baumgarten, Immanuel Kant, Johann Friedrich Herbart, Søren Kierkegaard, Gustav Theodor Fechner, and finally Wilhelm Wundt. One of the main findings is that music is included by all these scholars as a factor that reveals some more fundamental aspects of the human mind. Music reveals some basic aspects of human thinking processes but is not necessarily an explicit part of thinking. Even Kant refers to music as an example of pure cognition. This is followed up by Herbart, who compares the battle between ideas or representations with music, but also with functional mathematics. The discussion about all this culminates with Fechner, who defines music as the direct factor in experimental psychology. This is followed up by Wundt, who first of all refers to musical factors as stimuli in his experiments. However, the very main finding is that experimental psychology is just a secondary activity, which cannot tell anything about the communicative aspects of human behavior. This is solely entrenched in a social interaction with culturally given systems of signs. This was what Wundt suggested folk psychology should be about.