 David Davies argues that musical works, like all works of art, are actions, in particular the compositional actions of their composers (2004). Thus he revives what we might call an “action theory” of the ontology of art. (An earlier defender of such a view is Gregory Currie (1989), who argues that artworks are types of action, rather than the particular actions with which Davies identifies them.) Although deciding between theories of musical ontology is always to some extent a matter of finding a balance between the benefits of a theory and its cost in terms of our pre-theoretic intuitions, action theories have a particularly hard row to hoe since they imply that an instance of a work is some action performed by a composer, rather than a performance. In order to make up for such damage to our intuitions the theoretical benefits of an action theory would have to be quite extensive.