 Despite these apparent professions of formalism, Kant also stresses music’s connection to the sphere of emotions. Particularly, he seems to accept a version of the Affektenlehre, according to which works of music may arouse specific emotions in the listener. In §53, Kant affirms that music may convey an emotion because of its analogy with the tone of voice typical of impassioned speech (see also Kant 1798: §18).