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The reaction of so many interested parties to various types of popular music today would seem to militate against that stance. Indeed, history is replete with examples of various pieces of music from earlier eras inciting their listeners to violence; [[Maurice Ravel|Maurice Ravel's]] signature work ''Bolero'', for example, was known to incite riots<ref>[http://www.kalvos.org/bazzr086.html Essay 86: Bolero v. Gliere, Round 1] by David Gunn, at Kalvos & Damian's New Music Bazaar</ref>, as was [[Igor Stravinsky|Igor Stravinsky's]] work ''The Rite of Spring''.<ref>[http://www.nottinghamphilharmonic.co.uk/notes/SRS.html The Rite of Spring] by the Nottingham Philharmonic Orchestra</ref>
The reaction of so many interested parties to various types of popular music today would seem to militate against that stance. Indeed, history is replete with examples of various pieces of music from earlier eras inciting their listeners to violence; [[Maurice Ravel|Maurice Ravel's]] signature work ''Bolero'', for example, was known to incite riots<ref>[http://www.kalvos.org/bazzr086.html Essay 86: Bolero v. Gliere, Round 1] by David Gunn, at Kalvos & Damian's New Music Bazaar</ref>, as was [[Igor Stravinsky|Igor Stravinsky's]] work ''The Rite of Spring''.<ref>[http://www.nottinghamphilharmonic.co.uk/notes/SRS.html The Rite of Spring] by the Nottingham Philharmonic Orchestra</ref>
Riots have also broken out at many rock-and-roll concerts, and often the responding law-enforcement authorities have been at a loss to determine the ultimate causes of those riots. The ''proximate'' cause typically is a one-on-one fight in which other concert attendees joined in—but what put the original combatants into a fighting mood, or causes others to join a fight that was, strictly speaking, not theirs, is far more difficult to explain. Perhaps too many of the listeners are worshiping the performers as if they were [[pagan]] [[idol]]s—a circumstance that, some say, composers like [[Franz Liszt]] and [[Nicolo Paganini]] had to contend with or even chose to exploit. Perhaps the causes have as much to do with the subculture of which rock-and-roll music is a part, as with the music itself. Then, too, no [[physician]] has ever investigated the chronic, or long-standing, effects of a steady aural diet of different genres of music—beyond expressing concern that many listeners are listening to their music too loud and damaging their hearing with the sheer physical stress of the loud sounds. The only signs that anyone can study, if they are signs of anything at all, are the statistics concerning psychological stress affecting, and substance abuse by, performers of various types of music. (Riots do not routinely break out at classical performances—at least, not since the ''Rite of Spring'' riot mentioned above. This might simply be due to wild behavior not being normative on the part of those who routinely patronize such music.)
Riots have also broken out at many rock-and-roll concerts, and often the responding law-enforcement authorities have been at a loss to determine the ultimate causes of those riots. The ''proximate'' cause typically is a one-on-one fight in which other concert attendees joined in—but what put the original combatants into a fighting mood, or causes others to join a fight that was, strictly speaking, not theirs, is far more difficult to explain. Perhaps too many of the listeners are worshiping the performers as if they were [[pagan]] [[idol]]s—a circumstance that, some say, composers like [[Franz Liszt]] and [[Nicolo Paganini]] had to contend with or even chose to exploit. Perhaps the causes have as much to do with the subculture of which rock-and-roll music is a part, as with the music itself. Then, too, no [[physician]] has ever investigated the chronic, or long-standing, effects of a steady [[aural]] diet of different genres of music—beyond expressing concern that many listeners are listening to their music too loud and damaging their hearing with the sheer physical stress of the loud sounds. The only signs that anyone can study, if they are signs of anything at all, are the statistics concerning psychological stress affecting, and substance abuse by, performers of various types of music. (Riots do not routinely break out at classical performances—at least, not since the ''Rite of Spring'' riot mentioned above. This might simply be due to wild behavior not being normative on the part of those who routinely patronize such music.)
Throughout world history, "new" music (which 200 years later may be considered classical or traditions) has often elicited the claim "dangerous" "sexually perverse" and "against human nature". Both Mozart and Beethoven were regarded as dangerous, and the entire "major chord" system was offensive to early Christian ears. Music from other cultures, seen by some as merely different or ethnic, is often labeled dangerous or simply "noise" by outside cultures.
Throughout world history, "new" music (which 200 years later may be considered classical or traditions) has often elicited the claim "dangerous" "sexually perverse" and "against human nature". Both Mozart and Beethoven were regarded as dangerous, and the entire "major chord" system was offensive to early Christian ears. Music from other cultures, seen by some as merely different or ethnic, is often labeled dangerous or simply "noise" by outside cultures.