 The systematic development of musical ontology is perhaps the most characteristic thematic focus of analytic philosophy, as the area had been almost entirely neglected by previous philosophical theories. The most popular ontological views are type theories, according to which musical works are repeatable entities, tokened by multiple sound events. Some type theorists are Platonists. They hold that musical works are abstract objects that do not come into existence (Kivy 1983a, 1983b; Dodd 2007). A different approach holds that musical works are created types, a feature that proponents argue makes sense of music as a human, contingent practice (Levinson 1980).