 The latter disjunct allows for two indiscernible works, neither of which strictly possesses basic musical features, yet one of which is music and the other sound art because of the complex way in which the former is intended to be approached. Kania’s approach thus draws on some of the machinery of recent definitions of art in place of an appeal to an aesthetic condition. In doing so, however, it may be that Kania has slipped back into defining music as essentially artistic. For trenchant criticisms of the attempt to give necessary and sufficient conditions for music, see Kingsbury &amp; McKeown-Green 2009 and McKeown-Green 2014. Stephen Davies (2012) suggests that an adequate definition would have to deflect the complex nature of music, appealing at least to its intentional, structural, historical, and cultural aspects.