 Idealists hold that musical works are mental entities. Collingwood (1938) and Sartre (1940) respectively take musical (and other) works to be imaginary objects and experiences. The most serious objections to this kind of view are that (i) it fails to make works intersubjectively accessible, since the number of works going under the name The Rite of Spring will be as multifarious as the imaginative experiences people have at performances with that name, and (ii) it makes the medium of the work irrelevant to an understanding of it. One might have the same imaginative experience in response to both a live performance and a recording of The Rite of Spring, yet it seems an open question whether the two media are aesthetically equivalent. But see Cox 1986, and Cray &amp; Matheson forthcoming, for recent attempts to revive idealism.