IN THIS RESPONSE I LARGELY CONCUR WITH THE commentary offered by Graham and argue that a label such as that proposed by Graham could additionally be useful in drawing primary attention to crucial social and affective features of music-making that have at times been undervalued in interdisciplinary investigations into music. I suggest two changes to the label proposed by Graham arguing that "affective"——rather than emotional——and "communication"——rather than signal——more broadly and precisely describe the boundaries of relevance that should be applied to music.

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