 Several theorists have defended accounts of musical expressiveness known variously as resemblance, contour, or appearance theories (e.g., Kivy 1989, though see Kivy 2002: 31–48 for recent qualms; Budd 1995: 133–54; S. Davies 1994: 221–67). The central idea is that music’s expressiveness consists in the resemblance between its dynamic character and the dynamic character of various aspects of people experiencing emotions. The aspects appealed to include the phenomenology of the experience of the emotion, the emotion’s typical facial expression, the contour of vocal expression typical of a person experiencing the emotion, and the contour of bodily behavior typical of such a person, including “gait, attitude, air, carriage, posture, and comportment” (S. Davies 2006: 182). Stephen Davies argues that such theories hold music to be expressive in a literal albeit secondary sense of the term. We say that a piece of music is sad in the same sense in which we say that a weeping willow is sad (S. Davies 2006: 183). Such uses are no more metaphorical than a claim that a chair has arms.