 On the second front Davies is more aggressive. He attacks the idea that we imagine a persona inhabiting the music, or giving rise to it in some way as the literal expression of its emotional experiences (1997b; 2006: 189–90; see also Kivy 2002: 135–59; 2006; Ridley 2007). The simplest objection is that there is empirical evidence that understanding listeners do not engage in any such imaginative activity. This is decisive if true, but there is plenty of room to quibble about our ability to test for the right kinds of imaginative activity, the selection of the subjects, and so on. A different kind of objection is that if the persona theory were true, expressive music could not constrain our imaginative activity in such a way as to yield convergent judgments of expressiveness among understanding listeners. That is, different people, or the same person on different occasions, could imagine a single passage as the expression of an imagined agent’s anger, excitement, passionate love, and so on. The problem is compounded when we consider the narrative(s) that we might imagine to explain the agent’s (or agents’) emotional progress in an extended work. It is not clear even how we might individuate one such agent from another, re-identify an agent over time, and so on. These criticisms seem a little uncharitable. As mentioned above, Levinson is open to a resemblance account’s playing an important role in our identification of the particular emotions expressed in a passage. So Levinson can simply help himself to whatever level of specificity of emotions expressed the best resemblance account has to offer. As for the individuation and re-identification of the imagined agents, no mention has been made of such complexities so far and, as Levinson says, these “are matters on which the account of basic musical expressiveness can remain agnostic” (2006b: 204).