 Against Platonism, nominalist theories reject types and construe musical works as collections of particulars (Goodman 1968; Predelli 2001; Caplan &amp; Matheson 2006). A less popular option is to consider musical works as actions. Gregory Currie (1989) and David Davies (2004) have defended such a view with respect to artworks in general, including musical ones. It has also been proposed that musical works are best regarded as useful fictions that sustain our critical and appreciative discourse about music (Kania 2008; Killin 2018; for a recent overview of analytic ontology of music, see S. Davies 2020).