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To many, it would still seem absurd to suggest that there is any argument to be had about how ‘musical works’ exist: the answer is surely obvious to anyone with an interest in the history of western classical music, since even the titles alone can conjure up a host of past and possible performances and, most importantly, experiences. Moreover, most musical works are associated with a documentary trace, the score, by which certain parameters are fixed, others suggested or left open, and the work can thus be identified as a document qualifying for copyright protection or authorial ownership, much in the manner of a verbal text. Already though, this very brief sketch of assumptions is reliant on specific contexts of performance, authorship, title and documentation, which are all too easily naturalised across diverse types of music (witness a growing concern with authorship, ownership and varying levels of ‘authenticity’ in reproduction within the history of popular music). There is something definitely ‘western’ about this too. While there might indeed be canons of ‘high’ and ‘low’ music in the traditions of countless non-western cultures, very few of them are concerned with documentary precision or the intellectual property rights of individual, unique creators (of course, this is not to say that western-style music, in both ‘art’ and popular categories, cannot successfully be introduced or indeed created within these cultures). If there is this synchronic observation to be made across contemporary cultures, might there not also be a diachronic one? In other words, if ‘musical works’ have more resonance in some parts of the world than others, might they not also thrive in specific eras of western history? The

What is a ‘musical work’? Reflections on the origins of the ‘work concept’ in western art music