 This result is in tension not only with a sensible view of successful performance, but also with one of Goodman’s stated methodological principles. He holds that the notational systems characteristic of allographic arts should provide rigorous identity conditions, while at the same time respecting our intuitive notion of what counts as a given artwork (Goodman 1968: 121–122, 197–198). But Goodman’s account of compliance between score and performance is both too strict and too permissive to respect our intuitions: It fails to make room for pre-theoretically valid performances (e.g., a rendition with a single wrong note), while accepting ones that we would consider incorrect (e.g., a performance that is note-for-note correct, but played at a tempo that renders the work unrecognizable). Subsequent work on the ontology of music has inherited from Languages of Art the notion of compliance and the related idea that some features are determinative of a work’s identity, while also attempting to avoid Goodman’s notational strictures (see S. Davies 2001).