 As with the debate between architectonicists and concatenationists, discussed above, the extent of the disagreement between various parties to this dispute is not clear. Those defending the value of music’s expressiveness tend to claim that its contribution to overall musical value is significant, but many stop short even of according it primary value, and do not argue against the value of formal elements of musical works (Ridley 1995: 192–6; Levinson 1982, 1992: 20–2, 1996a: 124–5; Robinson 2005: 413; Young 2014: 150–4). They content themselves rather with pointing out the ways in which expressiveness can be valuable. These include many of the features discussed above with respect to our interest in listening to music that arouses negative affective states in the listener. To recap, our emotional responses to music’s expressiveness can enable us to savor, understand, and even, to some extent, experience emotions in a “safe” way. They can provide us with a cathartic release, and enable us to participate in a kind of communication with the composer or communion with other members of our musical culture (Levinson 1982, 1996a; Higgins 1991, 2012; S. Davies 1994: 271). Emphasizing this last point, Roger Scruton argues that music’s value is quasi-moral, in that the kinds of music one responds to, or those valued in a particular culture, reflect the state of that individual’s or culture’s “soul” (1997: 380–91; see also S. Davies 1994: 275–6.) Stephen Davies (1987: 207–12) has argued that there are beneficial consequences of an interest in music in general, such as heightened emotional and aural sensitivity, which are not properly valued as consequences of listening to individual pieces, but which lead us to value musical culture as a whole (just as we value kindness for its consequences in general, while rejecting instrumental motivations for kind acts as inappropriate).