 Unsurprisingly, perhaps, those who take the experience of music’s expressiveness to be a more intimately emotional one (through being predicated on imaginative engagement with the music, say), tend to emphasize that experience as more central to musical understanding, and thus attribute a larger part of music’s value to its expressiveness. Those, on the other hand, whose theory of the experience of musical expressiveness is more distanced (a matter of noticed resemblance, say), tend to place less weight on this element in their theories of musical value. At one extreme of this spectrum is the position that denies music to be expressive at all, and thus cannot attribute music’s value to its expressiveness (most notably Hanslick 1854; see also Zangwill 2004). Apart from this extreme position, most theorists agree that music’s value is to be located in different kinds of experience, including the experience of formal and expressive features; their disagreements are mostly about the relative weight of these different kinds of experiences in a complete account of musical value.