 A second way to link music’s expressiveness with actual felt emotions is through the audience. The “arousal theory” is, at its simplest, the claim that the expressiveness of a passage of music amounts to its tendency to arouse that emotion in an understanding listener. Some problems with this simple version can be overcome. For instance, some emotions, such as fear, require a particular kind of intentional object (something threatening), yet there is no such object at hand when we hear fearful music. Thus it seems implausible to claim the music’s fearfulness resides in its arousal of fear in us. But the arousalist can broaden the class of aroused emotions to include appropriate responses to the expressed emotion, such as pity. It can also be objected that many understanding listeners are not moved to respond emotionally to music. But the arousalist can simply restrict the class of listener to which his theory appeals to those who are so moved. The main problem with the theory seems more intractable. Essentially it is that in order for a listener to respond appropriately to the music, she must discern the emotion expressed therein. This is most obvious when the response is a sympathetic, rather than empathetic, one. The listener’s response depends upon the emotion expressed, and thus the expressiveness of the music cannot depend upon that response. (A sophisticated defense of the arousal theory is to be found in Matravers 1998: 145–224, though see the second thoughts in Matravers 2011.)