Abstract

The contemporary debate in philosophy of music about the ontological status of musical works seems sometimes to have little to do with actual musical practices and experiences. As Lydia Goehr observed (1992) the danger is here very high that the competing theories remain unrelated to the actual practices they should explain. It is difficult to understand why elaborating complex conceptual systems for answering the ontological question “What is a musical work?” is worthwhile, if, aside from discrepancies between scores, which may be often rectified through philological examination, the identification of a certain performance as performance of a certain work is normally not problematic in the central case. Better and more interesting is to search for aesthetic reasons that can explain why, to which degree, regarding which aspects (and so on), a certain performance is good, bad, exciting, innovative, moving, insipid and so on, and to be preferred to other performances of the same work.