While music was renewed in recent decades, the the topical of positivism are still at the heart of the manuals and proposals music history curricula. This historiography has become hegemonic it has shown great resistance compared to other historical disciplines. The usual explanation is that there is a disciplinary delay: positivism it comes late to an isolated musicology in his problems. We will try here an alternative explanation calling for that paradigm to be found in his artefacts themselves: in particular the work/object and style. We will therefore propose: the existence of a specifically musical positivism and we will consider, in addition, the possibility of her hegemony being based on ideological reasons rather than methodological.