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In Randall R. Dipert’s short, but thought provoking article, ‘The Composer’s Intentions: An Examination of their Relevance for Performance’ four questions were discussed. What are the composer’s intentions? Do these intentions ever conflict? If so, which intentions are we to follow? And lastly and most difficult “Why ought we to follow the composer’s intentions with regard to performance?” The first part of Dipert’s article suggests that it is impossible to perform all of the composer’s intentions because they conflict with each other. This was argued by dividing the composer’s intentions into three categories, low-, middle-, high-level, and then disqualifying the relation between each other. Dipert’s second part suggests why we do not need to follow the composer’s intentions. In this paper I will attempt to show that a sufficient amount of the composer’s intentions are known, do not contradict, and at times should be followed when performing. To alleviate any confusion when referring to Dipert’s article I will use his three levels of a composer’s intentions and their definitions which are as follows: Low-level intentions are those concerning the means of production of sound and include t