 Other philosophers have argued that diachronic penetration of perception undermines modularity. Churchland (1988), for instance, sees Fodor’s allowance of diachronic penetration as “grudgingly conceded,” and he argues that diachronic penetration is in fact widespread, rather than something that happens within strict limits (p. 176). One such case, raised by Churchland, is the case of perceiving music. Churchland argues that a person who knows the relevant music theory and vocabulary “perceives, in any composition whether great or mundane, a structure, development, and rationale that is lost on the untrained ear” (1988: 179). Fodor replies that it is unclear whether such cases are genuinely perceptual (1988: 195). He suggests another possibility, which is that the person who knows the relevant music theory does not perceive it differently, but rather forms different beliefs about the music. Furthermore, even if the case is genuinely perceptual, Fodor replies that it could be that a trained ear results simply from repeated exposure to the relevant music, rather than through knowledge of theory (1988: 195).