 In contrast to all these realist views stand those of the anti-realists, who deny that there are any such things as musical works. An early proponent of such a view is Richard Rudner (1950), though it is difficult to say whether he is best interpreted as an eliminativist or a fictionalist, the two anti-realist views currently on the table. According to eliminativists, there are no such things as musical works, and thus we ought to stop trying to refer to them. Ross Cameron (2008) defends such a view, but only with respect to “Ontologese”—the language we speak when we do ontology. He argues that ordinary English locutions such as “there are many musical works” can be true without there being any musical works. (For critical discussion, see Predelli 2009 and Stecker 2009.) According to fictionalists, the value of discourse about musical works is not truth, and thus we ought not to abandon the discourse despite the non-existence of its subject matter, but rather adopt a different, make-believe attitude towards it (or perhaps we already do so). (See Kania 2008c, 2013b; for criticism, see Letts 2015.)