 Kulvicki’s dispositional theory neatly accounts for some distal intuitions about sounds. (Other intuitions, such as the idea that sound have a loudness, are beyond the descriptive power of the theory, that on that score considers loudness as a property not of the sound, but of the thwack). In particular it highlights the importance of action in bringing about auditory information about an object: most objects sound because we deliberately impart a thwack on them, and in many cases in which we want to know how an object sounds, we do impart the thwack, and subtly modulate it. When we hear a sound we get knowledge of a kind of resistance an object opposes to thwacking; it is knowledge of an elastic disposition. The account explains the fact that the more the object reacts, the more it is sonorous. And an object—say, a guitar string—is “A sharp” because at that frequency it responds optimally to thwacking.