 A central topic in the understanding of paradigmatically representational art forms, such as literature and film, is what constitutes an acceptable interpretation of a work. One debate concerns whether there is a single correct interpretation of any work or multiple acceptable interpretations; another concerns the constraints on acceptable interpretations, e.g., the extent to which the artist’s intentions may or should be taken into account. Though these questions seem equally applicable to musical works (S. Davies 2002a; Dubiel 2011), most of the literature on understanding music has focused on the nature of more basic musical understanding, presumably because this seems more mysterious than the understanding of language or pictures. (The latter are significant philosophical topics in their own right, of course, and it is an interesting question whether there should similarly be a general theory of music as a medium, independent of questions of music’s artistic or aesthetic use (Kania 2013a).)