 Naturally, music and painting (and with the latter, of course, sculpture) end up standing on opposite sides of the spectrum, the first being allographic and allowing for a notation, the second autographic and not admitting of any notation compatible with practice. A work of music is, for Goodman, “the class of performances compliant with a character” (1976, 210), where the character is the musical work’s score. Consider that music written in standard musical notation is, for the most part—or, more precisely, for the “main corpus of peculiarly musical characters” (Goodman 1976, 183), i.e., for the flags arranged on the pentagram—in a notational language. All and only those performances that fully correspond to, or “comply with,” the score count as performances of the work. Even one small mistake on the part of the performer, say, in replacing one note for another, is sufficient to declare that, technically, a different work has been performed. On the other hand, other, important aspects of standard musical notation are not in a notational system: indications of tempo, for instance, as well as the convention of letting the performer choose the cadenza, give great latitude to the performer. Hence, in Goodman’s view, while two performances that sound almost exactly alike may not be performances of the same work, radically differently sounding performances may be. Notice, however, how the question of identity is here sharply distinct from the question of value: “the most miserable performance without actual mistakes does count as [a genuine instance of a work], while the most brilliant performance with a single wrong note does not” (Goodman 1976, 186).