According to the two-dimensional argument against materialism, developed by David Chalmers, the conceivability of zombies entails primary possibility, and the primary possibility of zombies entails further secondary possibility. I argue that the move from the conceivability to primary possibility of zombies is unjustified. Zombies are primarily impossible despite being conceivable if the corresponding phenomenal and microphysical concepts have coinciding primary intensions (refer to the same properties in all possible worlds considered as actual) despite being distinct concepts. But there is no good reason to think that phenomenal and microphysical concepts cannot have coinciding primary intensions despite being distinct concepts. As I argue, this conclusion follows from reflection on special cognitive features of phenomenal concepts.
Assuming that music can be expressive, I try to answer the question whether musical expressiveness has epistemic value. The article has six parts. In the first part, I provide examples of what music can express. I suggest that it can express inner states with phenomenal character. In the second part, I build up an argument in favor of the claim that, granted its expressiveness, music can convey conceptual content which is not verbal, and which cannot be expressed verbally. This conclusion is limited to concepts like lyrical, nostalgic, melancholy, joyful, distressful etc. In the third part, I explain what musical expressive content is, in contrast and by analogy to, propositional content. In the fourth part, I apply Mitchell Green’s multi- space model of artistic expression to music. I argue that Green’s theory of expression provides a powerful explanation of how a musical sequence can express states with phenomenal character. In the fifth part, I use that model to define adequacy conditions for musical expressive ascriptions. In the last part, I attempt to explain musical knowledge by combining Green’s multi-space model with Sosa-style virtue epistemology.