 Levinson advocates a “contextualism” in aesthetics (2005), which is not to be confounded with the approach defended by Pepper (1937a, 1968, 1970) under the same label. In his (1980a, 1990) Levinson sets forth and defends an account of “paradigm musical works,” i.e. fully notated compositions within Western culture. His proposal is motivated by the attempt to meet what he takes to be three salient requirements on an adequate ontology of works of this sort: creatability, fine individuation, and the inclusion of performance means.