Abstract

I argue that entities which best fill the role of musical works are discovered and not created. I begin by distinguishing two senses of ‘create.’ I then examine what our ordinary talk of musical works commits us to, paying special attention to this distinction. Finally, I look at Renée Cox's arguments for the creation view of musical works. One of her reasons actually supports the discovery position. Her other claims are consistent with the view that musical works are discovered. I conclude that though our ordinary talk concerning musical works is often ambiguous, the discovery view is superior.