An impressive variety of theories of ontology of musical works has been offered in the last fifty years. Recently, the ontologists have been paying more attention to methodological issues, in particular, the problem of determining criteria of a good theory. Although different methodological approaches involve different views on the importance and exact role of intuitiveness of a theory, most philosophers writing on the ontology of music agree that intuitiveness and compliance with musical practice play an important part when judging theories. A multitude of diverse claims exist regarding folk intuitions and matters of musical practice in the literature on the ontology of musical works. In this review paper, a systematized collection of about one hundred empirical claims extracted from the theoretical literature is presented. All of the empirical claims are categorized thematically. The paper also includes a short discussion on the role of appeals to common intuitions in methodological literature, as well as some suggestions for future research.
Keywords philosophy of music  experimental philosophy of aesthetics  ontology of music  ontology of art
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DOI 10.1007/s13164-021-00535-8
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References found in this work BETA

Semantics And Cognition.Ray S. Jackendoff - 1983 - Cambridge: MIT Press.
The Essential Moral Self.Nina Strohminger & Shaun Nichols - 2014 - Cognition 131 (1):159-171.
Why Can’T I Change Bruckner’s Eighth Symphony?David Friedell - 2020 - Philosophical Studies 177 (3):805-824.
Works of Music: An Essay in Ontology.Julian Dodd - 2007 - Oxford University Press.

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Can Artificial Intelligence Make Art?Elzė Sigutė Mikalonytė & Markus Kneer - 2022 - ACM Transactions on Human-Robot Interactions.
Experimental Philosophy of Aesthetics.Florian Cova - forthcoming - In Max Bauer & Stephan Kornmesser (eds.), Compact compendium of experimental philosophy. De Gruyter.

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