This article is devoted to the study of musical text in the context of the Plato ontology. Our task is to show the process of cognitive comprehension of a musical text as an ontological and hermeneutic reflection. It is fundamentally important for the author to become acquainted with two basic philoso-phical positions, showing fundamentally opposite views on the musical ontology as a whole. To reveal the existence of a musical text at the ontological and hermeneutic levels, we need to develop the neces-sary tools to “subtract” the authentic meanings that underlie the creation of the creator of the text. In the context of the problem under study, we will get acquainted with the various ontological positions of philosophers such as Peter Kivy, Jerome Levinson and other thinkers. Observing, for example, the invisible controversy of Kiwi and Levinson, we can track two radically opposite approaches to the study of musical text. Developing the position of classical Platonism that musical compositions are discovered rather than created, Peter Kivy shows us musical works as discovered eternal types. The opposite position is that of Jerome Levinson, showing a musical composition as a soluble idea, which lies in the potentiality of the author. This approach criticizes the idea of combining musical creations with Platonic universals (Kivy), arguing, on the contrary, about the author’s onto-logical principle. Choosing one of the approaches to understanding the authentic intent of the author’s text, we need to establish the primary and secondary levels of reflection. Given the direct relationship between the author and the interpreter of the text, it is important for us to identify the ontological conditions for the emergence of the text as the primary level of reflective immersion. The level of hermeneutic exist-ence, which implies the conditions and variability of the musical variant of the text, we will attribute to second-order reflection. Thus, in the context of the Plato ontology, it is important for us to identify the uniqueness of the historical text and show the self-existence of its existence. In this regard, the author comes to the con-clusion that the moment of birth of the text is in intuitive experience as an eternal idea that does not depend on anything and does not go anywhere. This level is the most basic, since the fact of fixing the idea of the text in direct graphics is secondary, and having recognized the graphics, the transcriptor creates the interpretation-thing of the idea, just trying to establish similarity as the principle of com-munication. An attempt to establish this connection in the form of a musical interpretation is multivari-ate and coincides with the original idea only partially. As a result, at the hermeneutic level, scoring of musical notations enlivens the musical being of the text, but at the same time alienates us from under-standing its original idea.
Multiplicity, Audibility, and Musical Continuity
