As Bob requested, I have started a new thread to continue the discussion on music, it's inherent moral nature (or lack thereof), and it's ability (or inability) to cause one to sin. To briefly recap, I have been attempting to get the traditional only types here to tell me just exactly what sin I am engaging in by my enjoyment of all types of music. I don't expect I will ever get a direct answer, but I think we have at least made a good start. Enda's response is simply to pose another question. Can music make you angry? My answer simply put is no. Certainly music has the ability to affect your emotions, but it cannot force one to feel or do anything one is not willing to do or feel. Enda's next response was to cut and paste an article which I will not reproduce in it's entirety, but it can be found HERE. My objective from this point is to demonstrate that both enda and Aaron (who apparently is very fond of this article) have made serious errors in their application of Dr. Weinbergers findings. Consider first this statement which is used to set the parameters within which one is emotionally affected by music: I would expand on the former as it relates to the latter. The arousal potential of music is based on many factors: mood (of the listener), environement, and to what degree we desire to hear any given piece of music at any given point. It would be fair to say that the magnitude of arousal potential is directly related to the degree with which we desire to hear any given piece of music.Consequently, I would say that music is able to affect one's emotions only to the degree that one is willing to let it. Fair enough? Allow me to demonstrate further that Dr. Weinberger is only interested in illustrating the ability of music to affect those who are willingly receptive. In the first example we are told about silent films and the music which accompanies them. Dr. Weinberder then goes on to explain that the soundtrack which has become an integral part of movie making, is intended to directly reflect and convey the emotional message of the movie. But what about the audience? Can we not say that the individual watching the movie is actively engaged in the plot, in the character's actions and indeed the entire story of the film? Is not the movie theatre patron willingly receptive to the emotional message that the music is trying to convey? But what if the movie goer isn't enjoying the film? What if the acting is awful and the plot unengaging? In short, what if we don't give two whits about anything the film is trying to tell us? Does that sweeping romantic music have the same impact on us when we couldn't care less that two people just fell in love? Of course not. If one is sitting through a horrible movie, no amount of grand sweeping, or swirling music is going to affect one's emotions. Dr. Weinberger then goes on to site some studies conducted where the intent was to determine and measure whether or not people can correctly identify and "feel" the correct emotion presented in a piece of music. The participants who fully aware they are being studied, are told to identify the emotional state of the music. Notice that the particpants are, like the movie goer, willingly receptive to the emotion which the music conveys. Throughout this article, the conclusions of Dr. Weinberger are based on people who are willing to be emotionally affected by the music they are exposed to. I want to go into greater detail about the studies that were conducted, but it will be at a later time. For now I would just like to point out they they are by no means trying to establish that all people experience music the same way. The music selected is one piece played at four different tempos to reflect four emotional states. The participants are aware that they have to label each piece of music as either sad, happy, fearful, and angry. In the final test, anger is left out. Ok, I'm tired, going to bed, but I do have much more to say, I hope someone is willing to listen. ...I wonder what would happen if they threw in Hector Berlioz's "Symphonie Fantastique".