 More relevantly, Goodman articulates his theory of work identity by addressing whether a given art form allows for a notational system, i.e., for a “score” that would “specify the essential properties a performance must have to belong to the work” (1976, 212). Accordingly, Goodman’s can also be seen as a novel way to account for the fact that some art forms—painting and sculpture for instance—do not allow for performances, while other art forms—such as music and dance—do. Advanced at first as a tentative approach, and indeed, throughout presented as open to revisions, the proposal is developed somewhat systematically, with the clear intent of showing its potential for becoming a general and comprehensive theory. Music, painting, literature, theater, dance, and architecture are all addressed with respect to the question of their relationships with the syntactic and semantic requirements of a notation. Goodman’s framework ends up being quite technical, given the need to refer to and explain the syntactic and semantic characteristics of notational systems. Also, such terms as “score,” “script,” and “sketch,” which all acquire specialized meanings. By the same token, the questions are not asked hypothetically or just as a mental exercise—in that sense, trivial notations could be devised for any art form (Goodman, Elgin 1988, Chap. 7). Rather, the questions are addressed with reference to the systems of notations already existing, when they do, and, more generally, with awareness of the actual history of the various art forms.