A bit of general background tot his terms topics: metaphysics and epistemology. To start it doesn"t seem to be a material thing, but material things are usually involved: a score, instruments, musicians, the physical processes that produce the experience of sound, etc. One common thought: a piece is somehow essentially connected to a store. Problems: unwritten songs, improvised music, musique concrete and sampling (classical work then turned to sample music) First: a distinction between music and eg painting. Music is allographic: we can"t make sense of the distinction between the original and the forgery of a piece of music (of the piece that is, not eg the handwritten score) Painting, by contrast, is autographic: paintings can be forged. A forgery of a work of art is an object falsely purporting to have the history of production requisite to have the history of production requisite for the (or an) original of the work.