Abstract
What constraints are brought to the task of the acquisition, comprehension, and use of musical knowledge? This question raises the problem of ‘musical ear’, solutions to which have been given chiefly by philosophers and by a variety of psychologists, rather than by musicologists. This essay seeks to expose the problem as a problem for musicology, by showing how, historically and contemporaneously, solutions have been guided by two traditional theories of knowledge and learnability.
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