 Platonism, the view that musical works are abstract objects, is perhaps the currently dominant view, since it respects more of our pre-theoretic intuitions about musical works than any of the other theories. On the other hand, it is the most ontologically puzzling, since abstract objects are not well understood. Nonetheless, Platonism has been tenacious, with much of the debate centering around what variety of abstract object musical works are. What we might call “simple Platonism” (known simply as “Platonism” in the literature), is that works are eternal existents, existing in neither space nor time (Kivy 1983a,b, Dodd 2007). According to “complex Platonism”, musical works come to exist in time as the result of human action. The view is motivated by a number of features of musical practice, including the intuition that musical works are creatable, the attribution of various aesthetic and artistic properties to works, and the fine-grained individuation of works and performances (e.g., in terms of who composed them, or what instruments they are properly performed upon) (Ingarden 1961; Thomasson 2004; Wolterstorff 1980; Wollheim 1968: 1–10, 74–84; Levinson 1980, 1990b, 2013a; S. Davies 2001: 37–43; Howell 2002; Stecker 2003a: 84–92).