 Tillman (2011) develops a view about the ontology of musical works according to which Beethoven's 9th Symphony (the symphony itself, as opposed to any particular performance of it) is multilocated. The view has it that a work of music is exactly located at a spacetime region r if and only if some performance of that work is exactly located at r. When combined with facts about the relevant performances, this principle yields the result that Beethoven's 9th is exactly located at spacetime regions confined to the 19th century Vienna and also at other regions confined to 20th century New York; it is multilocated. Tillman argues that this view is preferable to other forms of ‘musical materialism’. He does not say whether it is preferable to the view that works of music are abstract objects with no spatiotemporal location.