Abstract
Guy Rohrbaugh (2003) and Allan Hazlett (2012) have argued against the identification of musical works with sound-pattern types by arguing that musical works are modally flexible while types are modally inflexible, where an entity is modally flexible just in case it “could have had different intrinsic properties” than it actually does (Puy 2022, 295). In a recent paper, Nemesio García-Carril Puy offers a novel and interesting rejoinder to these arguments. Puy’s central response is twofold. First, he argues that although composers could have composed different versions of their works, such changes count only as differences in the extrinsic properties of those works. And second, he argues that the nested types theory—according to which musical works are higher order types and versions of works are lower order types which instantiate them (Puy 2022, 305)—retains the advantages of the type-token model of musical works while reconciling it with the fact that musical works could have been different in various respects.
Published Version
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