 Jerrold Levinson agrees that there is an important resemblance between the contour of music expressive of an emotion and the contour of typical behavioral expressions of that emotion. He objects, however, that such an account cannot be the whole, or even the most fundamental part of the story (Levinson 1996a, 2006b). He drives in a wedge precisely at the point where an appeal is made to the resemblance between the music and typical behavioral expressions. He asks what the manner and extent of the resemblance between the two must be, precisely, in order for the music to count as expressive of some emotion. After all, as is often said, everything resembles everything else in all sorts of ways, and so one could point out many resemblances between a funeral march and an expression of joy, or for that matter a cup of coffee and sadness. The resemblance theorist must give some account of why the funeral march, and not the cup of coffee, is expressive of sadness and not joy. Levinson claims that the obvious answer here is that the funeral march is “readily-hearable-as” an expression of sadness. If this is correct, then the resemblance the music bears to emotional behavior is logically secondary—a cause or ground of its expressiveness. The expressiveness itself resides in the music’s disposition to elicit the imaginative response in us of hearing the music as a literal expression of emotion. As a logical consequence, the imaginative experience prompted must include some agent whose expression the music literally is.