The view that the musician conveys the expressiveness of music she performs by undergoing those emotions and showing them, or by simulating such things, is implausible. If expressiveness is an objective property possessed literally by musical patterns and structures, or if it supervenes on such properties, the performer conveys that expressiveness simply by playing accurately the work as written. But because any performance goes beyond the work it instances, the musician's interpretation also makes an original contribution to the performance's expressive detail and nuance. When the player is urged to feel what the music expresses, she is being called on not to emote but to use sensitivity in her interpretative judgments. For the player, nervousness, hope, fear, commitment, respect, and sincerity might be more important in achieving an expressively convincing performance than any experience echoing or simulating the work's expressive progress and tone.