Abstract

The paper criticizes Platonistic accounts of musical works as sound-structures. It rejects their view that the authoring of such works is a kind of 'discovery' (Kivy) or 'selection' (Wolterstorff) or 'indication' (Levinson). Instead, the paper proposes that the authoring of any work for performance consists in the production of a token performance-directive. Works for performance are then defined as the contents of such directives.