 The most widely discussed philosophical question concerning music and the emotions is that of how music can express emotions. (For a more extensive introduction, see part II of Gracyk &amp; Kania 2011; for a thorough treatment, see S. Davies 1994.) There is a second group of questions centered around listeners’ emotional responses to music. These include questions about why and how we respond emotionally to music, the value of such responses, and why we choose to listen to music that elicits “negative” responses from us, such as sadness. Theorists typically restrict themselves to “pure” or “absolute” music for simplicity, though it is surprising how many central examples fall outside this boundary through being program music or song. The reason given for the restriction is usually that it is easier to understand how music with an accompanying text, say, could express the emotions evident in the text. On the other hand, an important criterion for the evaluation of such music is how appropriately the composer has set her chosen text to music. So an accompanying text is clearly not sufficient for the musical expression of an emotion. Thus, a better reason for initially putting such music to one side is that the interrelation of music and text, or other elements, is likely to be highly complex, and best approached with as well-developed a theory of the more basic phenomena in hand as possible.