 Goldman (1992), by contrast, emphasizes the detachment from the world of practical affairs implied by music’s abstractness. The complexity of great musical works demands the active engagement of our cognitive faculties, which we find rewarding, yet not in the pursuit of some practical goal that could be frustrated. However, there are some links between music and the “real world” in his account of the value of the musical experience. For one, we value pieces that lead to a satisfying resolution, particularly if they are colored with negative affect, since this experience is rare in everyday life. For another, we feel a particularly close communion with the minds of the composer and other listeners, since we feel we are going through an experience just like one they have also had.