  Wolterstorff holds that the sequences of sounds and words of which musical and literary works are made up exist everlastingly. What the artist does in creating a work, then, is to make it the case that a “preexistent kind becomes a work—specifically, a work of his” (1980, 89). Wolterstorff’s idea, then, is that a composer can select but not create a sound pattern or type of sound-occurrence. Although the latter is an entity that already exists, it is not a musical work unless some composer has determined and perhaps recorded its correctness conditions qua work. Wolterstorff remarks that the composing of a musical work is similar to the inventing of a game (1980, 63).