 Guy Rohrbaugh has proposed a new ontological category for musical, and other multiple works of art (2003). He argues that since the kinds of things we attribute to musical and other art works, such as modal and temporal flexibility, cannot be accounted for by any extant ontological theory and, moreover, that these problems arise not just for artworks, but such things as “species …, clubs, sorts of artifact, and words” (199), we are justified in positing a new kind of entity: a historical individual that is “embodied in”, but not constituted by, physical things such as scores and performances. (For criticism of this view, see Dodd 2007: 143–66.)