 A second area that may be independent of the fundamentalist debate is that of comparative ontology. (For dispute over this framing issue, see Brown 2011, 2012, and Kania 2012.) Just as classical works from different historical periods may be ontologically diverse, so may works from different contemporary traditions. Theodore Gracyk has argued that instances of works of rock music are not performances. Rather, the work is instanced by playing a copy of a recording on an appropriate device (1996). Stephen Davies has argued that rock is more like classical music than Gracyk acknowledges, with works for performance at the heart of the tradition, albeit works for a different kind of performance (2001: 30–6). Gracyk’s view has been amplified and defended in attempts to find a place for composition, live performance, and performance skill within his basic framework (Kania 2006, Bruno 2013, Bartel 2017).