This edition is intended as an attempt to answer the question, how are the findings of science relevant to music? It will do so by focusing on the ways in which science has explored musical pitch organisation in the context of relations between science and music. A general answer to that question is that the application of science to music can be thought of as being intended to bridge the gap between what music feels like- its experiential texture- and the language that is used to describe it and to teach it. To be more specific, the scientific development of music can help to span the disjunction that exists between the ways that music is experienced by listeners and by practising musicians and the rational frameworks of discourse that conventionally constitute music theory, that are used to describe and to define music. This development proceeds by seeking to provide accounts of music that are consonant with the concepts of computational logic- computability- and with empirically-derived evidence about musical perception, performance and creation.