 Much of this debate over the fundamental ontological category to which musical works belong has turned on “technical” issues, that is, controversial general metaphysical claims about the nature of properties, causation, embodiment, and so on (e.g., Howell 2002; Trivedi 2002; Caplan &amp; Matheson 2004, 2006; Dodd 2007; Cameron 2008). In the face of this, some theorists have pointed out that musical works are cultural entities, and thus the methodology appropriate to uncovering their ontological status might be quite different from that of general metaphysics (Goehr 1992; S. Davies 2003a; D. Davies 2004; Thomasson 2006, Kania 2008c). There currently seems to be as much interest in the methodological questions as in first-order theorizing. (For recent examples, see Kania 2008c; D. Davies 2009, 2017; Predelli 2009; Stecker 2009; Dodd 2010, 2013; and Mag Uidhir 2013.)