 Thus, Plato construes musical imitation of emotions as grounded on the resemblance of music to human expressive behavior, particularly vocal. At least on one occasion, he also seems to hold that music imitates the bodily movements associated with emotions (Laws, 2.654e-655a). This could be considered the first defense of the idea that musical expressiveness is due to the music’s resemblance to human expressive behavior, a position that remains popular to this day (see the entry on  href="../hist-westphilmusicsince-1800/#AnalPhilMusi" history of western philosophy of music: since 1800, section 2.6).