The article analyzes the experience of domestic and foreign cognitive musicology, the theoretical foundations of the formalization of musical thinking and the possibility of its presentation in the form of algorithms necessary for modeling artificial intelligence in the field of musical activity. Differences are noted in the methods of finding and formulating the meaning, the possibilities of assessing its truth or falsity, in the processes of personal understanding and its algorithmic presentation. It is indicated that the development of cognitive musicology leads to the need for the formation and application of new interdisciplinary strategies for scientific research. The main trends in musical cognitive science are due to the universality of the paradigms of thinking and the perspectives of their formalization.
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