Sounds, Instruments, and Works of Music
Julian Dodd · 2007
Abstract A satisfying account of the ontology of works of music must do two things. First of all, it must enlighten us as to musical works’ ontological nature: that is, tell us to which ontological category such works belong. Building on this, it must then explain how musical works are individuated: that is, provide an informative account of when we have one and the same work of music and when we have numerically distinct such works. What I shall term the simple view does just this. Its first component— what I shall call the type/token theory — has it that works of music are types whose tokens are sound sequence-events: datable, locatable patterns of sounds.