This paper explores the ontology of musical improvisation (MI). MI, as process in which creative and performing activities are one and the same generative occurrence, is contrasted with the most widespread conceptual resource used in inquiries about music ontology of the Western tradition: the type/token duality (TtD). TtD, which is used for explaining the relationship between musical works (MWs) and performances, does not fit for MI. Nonetheless MI can be ontologically related to MWs. A MW can ensue from MI and (...) MI can be required for performing a MW faithfully. As performance on a MW, MI can offer versions of a MW, manifest a MW, and, especially, use it as one of its ‘ingredients’. Recordings of MI present special challenges and an unexpected ontological revival. (shrink)

The paper has two parts. In the first, I argue that the view that there are no musical works needs to be taken seriously, since it is a consequence of a plausible metaphysical thesis. In the second, I outline two jointly exhaustive accounts of musical discourse that imply the nonexistence of musical works. I conclude by indicating how the arguments offered here may be generalized to show that, startlingly, there might be no artworks at all.

In this review I compare the short video poetry on the DVD to music video clips such as are used to promote rock music.