 In its strongest formulation, this view holds that a work of music being sad, happy, and the like, requires the author to have been in that emotional state when composing the work. This is known today as expression theory (for a classic exposition, see Abrams 1971: chapter 4), and is sometimes paired with the further claim that, upon appreciating the work, one will be put in an emotional state similar to the artist’s. Although it is now largely discredited (Tormey 1971; Budd 1985: chapter 7), the expression theory is a paradigmatic view of artistic production as (emotional) communication between two individuals. Wackenroder, again through the character of Berglinger, is comforted by the thought that