In this critical study of Julian Dodd’s Being True to Works of Music (2020), I argue that the three-tier normative profile of the work-performance tradition in classical music that Dodd defends should be rejected in favour of a two-tier version. I also argue that the theory of work-performance defended in the book fits much more naturally with a contextualist ontology of musical works than with the Platonist ontology Dodd defends in Works of Music (2007), despite his arguments to the contrary in the afterword of the new book. Finally, I argue that the reasons he gives for preferring a ‘tradition-based’ over a ‘historicized’ theory of the understanding of classical scores are not convincing.