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Abstract
It is shown that computational theories of music which include music perception belong to cognitive science and that the epistemological basis of cognitive science is neomechanism also called logical mechanism. In neomechanism one is thinking of man as an information processing system or as an (abstract) automaton or an equivalent formal system. It is pointed out that one should better speak of cognitive science and not of cognitive sciences as, for example, in France. Cognitive science can serve as a fruitful paradigm in musical research only if the neomechanistic framework is accepted. Musicology working in this mechanistic framework ‐ also called cognitive science and music ‐ is called cognitive musicology and futhermore devided, like linguistics, in three main research areas: theoretical musicology, psychomusicology and neuromusicology.