I just posted this up on the Classical Board of Audio Asylum but am repeating it here to see what Roon Classical Music lovers think.
I raise the question about the influence of music training because there seems to be an expectation from some that music needs to be intellectually as well as emotionally stimulating before it gets the thumbs up. And it seems many modern compositions are unacceptable as they are deemed as too bland, something which is regarded as a common trait with popular fare that demands little intellectual challenge.
To me, a non musical pleb, intellectual appeal in music is unimportant - ignorance is bliss? It is the emotional response that is important and bland, relaxing, music is fine by me. It is a pleasant contrast to the more deeply involving music.
That is an intensely personal reaction to music and is very subjective so what is OK by me might not be for others. Conversely most popular fare like Rock, Rap etc which has a very strong public following leave me irritated and unimpressed. To me, much of it is primitive, repetitive noise with heavy emphasis on bass. Mind you, not all popular fare warrants such snobbish distain as there are some excellent vocalists, jazz artists and others out there, but to this old brain, not many sponsor a positive emotional response.
But of course the degree of emotional response to classical fare differs widely with chamber music generally the most appealing for me. And the range of reaction to that covers a wide spectrum with the Beethoven works for piano, violin and ensembles at the top. But some Verdi, Puccini, Wagner etc operas can been deeply engaging as are many orchestral works from Mozart, Beethoven Mahler, Haydn, Handel etc.
In appreciation/enjoyment of this music the quality of reproduction is vitally important as is the engineering expertise involved in the recording, With a few exceptions like recordings of Maria Callas, most older recordings are less enjoyable for me, regardless of the talent involved.
However love of the classics does not have me rejecting modern compositions, some of which I find quite appealing while others are no better than the disliked popular fare.
I sense that those who are musically trained look for more than emotional gratification so the timing, structure etc of compositions is important and can result in rejection of playing that Plebs like me are ignorant of so are not concerned about. And this appears a catch-22 situation where a performance given the thumbs up can be more deeply accepted and appreciated by musicians than by the rest of us while we can enjoy other recordings that they might reject because it does not conform to established criteria. And to muddy the waters, these criteria change over time as the contraversy with Norrington’s philosophy involved with conducting Mahler Symphonies illustrates.