 Peter Kivy offers a similar, if less detailed, defense of this “liberating” power of music (1997b: 179–217). One problem for Kivy’s account is that he maintains both that our experience of music has “complete freedom from connection with our workaday world” (1997b: 209), and that the properties of the music relevant to our experience include, “most importantly, its expressive properties” (1997b: 205, original emphasis). Without some account of how our interest in the expressive properties of a piece does not lead us back to the workaday world (as Kivy insists such properties do in representational arts, such as literature and painting) it seems we should prefer a theory, such as Budd’s or Goldman’s, that provides some account of the real-world role our experience of these properties plays. These issues are thrown into sharp relief in the debate over how instrumental musical works could be “profound” (Kivy 1990: 202–18; 2003; S. Davies 2002b; Dodd 2014b).