 Most theorists think that some kind of Platonist or nominalist theory of musical works is more plausible than those so far considered. Nominalists hold that musical works are collections of concrete particulars, such as scores and performances (Goodman 1968; Predelli 1995, 1999a,b, 2001; Caplan &amp; Matheson 2006). While this view is attractive because it appeals only to the least problematic kinds of entities, it faces serious challenges. Though many of our claims about musical works may be paraphrasable into claims about sets of possible performances, some seem to make intractable reference to works. For instance, most performances of The Rite of Spring—even including the possible ones—include several wrong notes. Thus it is difficult to imagine how the paraphrase schema will avoid the nonsensical conclusion that The Rite of Spring contains several wrong notes. The solution to this problem seems to lie in an appeal to the work as independent of its various performances, but such an appeal seems unavailable to the nominalist. (For a recent defense of nominalist theories against some standard objections, see Tillman 2011.)