 Recent work has tackled meta-ontological questions, asking what principles should guide the construction of ontological theories (see for instance Stecker 2009; Dodd 2013; D. Davies 2017). A useful distinction is the one between descriptive and revisionary ontologies (Kania 2008), the former adhering to pre-theoretical conceptions of what a musical works is, the latter sacrificing intuitions for the sake of theoretical virtues.