 The first is in his refusal to accord a role to imagination in our response to expressive music. For Davies, the response of the appropriate listener upon which the expressiveness of the music depends is one of an experience of resemblance (2006: 181–2). In other words, the answer to the question of the manner and extent to which music must resemble some behavioral expression in order to qualify as expressive of a particular emotion is simply “in whatever manner and to whatever extent leads us to experience the music as resembling the emotion”. No further attempt at analysis is given, presumably because Davies believes this is the end of the philosophical line. Further explanation of our tendency to respond in this way to music will be in some other domain, such as the psychology of music. Since Davies’s theory posits at base a contour-recognition experience while Levinson’s posits an imaginative experience of expression, the link between literal expression and musical expressiveness looks closer in Levinson’s theory than in Davies’s. An empirical consequence seems to be that Davies’s theory will predict weaker emotional responses to music than Levinson’s. Whether or not this is an advantage or disadvantage of the theory depends on the empirical facts about how we respond emotionally to music.