 From the 1770s onwards, the view of music as an imitative art appears increasingly untenable, and the idea that music is expressive of the emotions because it imitates human expressive behavior also comes under attack. This new trend is evident in works such as André Morellet’s (1727–1819) Of Expression in Music and Imitation in the Arts (1771), as well as Musical Expression Placed Among the Chimeras (1779). This latter work was written by Boyé, whose biographical details are unknown. Boyé’s treatise pairs the rejection of imitation with the claim that melody and harmony are worthy of appreciation in themselves: