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.

在过去的五十年中，提供了令人印象深刻的各种音乐本体论理论。近来，本体医生已经更加关注方法论问题，特别是确定良好理论标准的问题。尽管对于方法学的直觉性的重要性和确切作用，不同的方法论方法涉及不同的观点，但是大多数写音乐本体论的哲学家都认为，直觉性和对音乐实践的依从性在判断理论时起着重要的作用。关于音乐作品的本体论的文献中，关于民间直觉和音乐实践的问题存在多种多样的主张。在这篇综述文章中，系统地收集了从理论文献中提取的大约一百个经验要求。所有的经验性主张均按主题进行了分类。本文还包括对方法论文献中对普通直觉的呼吁的作用的简短讨论，以及对未来研究的一些建议。