ABSTRACT
At the end of a congress essentially dedicated to cognitive sciences in music and founded on an epistemology of experimental objectivity, I find it useful to consider this epistemology and its significance for the understanding of the musical phenomenon, which we have tried to analyse and break down in these few days, in order to apprehend its most subtle and secret aspects. Characterising our procedure may seem easy: it is based upon the principle of “objective”—that is, falsifiable-verification of sets of observable facts which can be repertoried, listed.
