 Since both the resemblance and ready-hearability theories make music’s expressiveness a matter of response-dependence, both must answer the question of whose responses are to be taken into account. Both appeal to listeners with understanding of the kind of music under discussion. This raises the question of what counts as understanding (a matter considered in  section 4,  below). One thing that cannot be appealed to in this connection, though, is an ability to hear the right emotional expressiveness in music, for this would render any account circular. Levinson points out that one can appeal to everything but such understanding of expressiveness, and thinks that sensitivity to expressiveness will come along with the rest (1996a: 109). Aside from this, though, there is the fact that some apparently understanding listeners simply deny that music is expressive of emotion. Levinson thinks we can reasonably exclude such listeners from the class whose responses are appealed to in the analysis of expressiveness, since only those generally disposed to hear expressiveness are reasonably appealed to in determining the specific expressiveness of a particular passage, which are the terms in which he puts his theory.