 Despite the problems of the arousal theory as the whole story of musical expressiveness, there is a growing consensus, thanks largely to the work of Jenefer Robinson (1994, 2005), that our lower-level, less cognitive responses to music must play some role in the emotional expressiveness we attribute to it. However, this role is likely to be a causal one, rather than part of an analysis of what it is for music to be emotionally expressive.