This chapter defends a conception of works of music as abstract, unstructured, modally inflexible, and temporally inflexible entities. Objections to the type/token theory raised by, amongst others, Rohrbaugh and R. A. Sharpe, are discussed and countered. The claim first made in Chapter 1, that works of music even though abstract can be the objects of aural perception, is further discussed. The chapter concludes with the claim that any residual counter-intuitiveness surrounding the claim that musical works, qua types, cannot have been any different and are insusceptible of genuine change, is outweighed by the type/token theory's status as the face-value answer to the categorial question in the ontology of music.
Keywords: abstract, modally inflexible, Rohrbaugh, R. A. Sharpe, temporally inflexible