  Levinson’s fine individuation requirement springs from the intuition that if two composers were to indicate the same sound-structure, they would not thereby generate the same musical work. The contrary intuition had been forwarded by Meager (1958–59, 57–58) and Wolterstorff (1975, 248); it was criticized in Walton (1977) and Savile (1971). Levinson entertains the possibility that the identity of the composer is not essential to the individuation of works; perhaps it is at least logically possible for a work to be composed by a person other than the one who actually did so. Levinson explores the thesis that something like sameness of musical-historical context is a constraint sufficient to satisfy the requirement of fine-grained individuation.