Musical works are both multiple — they have a plurality of instances — and audible — they can be heard by listening to their instances. Two prominent approaches to musical ontology designed to explain these features of musical works are the type-token model and the continuant-stage model. Julian Dodd has argued that the type-token model has an advantage over the continuant-stage model because it can offer a direct explanation of the audibility of musical works in terms of their ontological category. In this paper, I defend the continuant-stage model against Dodd's argument by invoking a work-unifying continuity relation.
