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Abstract In this chapter I shall argue that works of music characteristically admit of a multiplicity of ideally admissible interpretations and that he who requires that there must be a single right interpretation of musical scores as classically construed will do violence to musical interpretative practice. No work of music can be understood as such, nor can it be evaluated as one of its kind, independently of the practices in which it is found and fostered. Such practices shape the idea of a work of music as a kind of cultural entity, and they provide the terms in which works of music can be made intelligible and appreciated. Indeed, in order to formulate the category of works of music, we need to fix upon good cases, and fixing upon good cases depends upon considerations of historically variable practices.
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