C. Repetition increases our preference for that which is repeated.  Again,
   studies (Verveer, 1933; Mull, 1940; Meyer, 1960; Bartlett, 1969; Pantle,
   1977) have shown that even if we are not favorably impressed with a piece
   of music the first time we hear it, most often such pieces tend to grow
   on us.  As we become more familiar with it, begin to understand it, and
   as it becomes more "'internalized" we not only find ourselves liking it
   more, but actually catch ourselves whistling it or singing it (sub-
   consciously--that's important, by the way!).  Think of one of your per-
   sonal favorites (whether it's Beethoven or the Beatles).  Can you re-
   member the very first time you heard it?  Were you as wild about it then
   as you are now?  Probably not.  There are always a few exceptions--the
   piece we love on first hearing.  But all of Top 40 radio is based on the
   premise that repetitive listening increases preference for that which is
   repeated.

D. Coordinated multi-sensory input reinforces any message.  Salesmen know
   this.  If a salesman can coordinate a major presentation so that his
   client hears his message verbally, reads his message in printed form,
   sees some slides and a few graphs, etc., the impact of his message will
   be greater.  Teachers know this.  Some of the finest teaching I have
   seen involved a coordinated presentation with verbal, written, and
   visual factors all focused to teach a given concept.

E. "Exclusionary" input also enhances the impact of a message.  (This seems
   to conflict with item D above, but notice that important word "coordinated"
   in item D.)  By exclusionary input, I mean single-source input which
   blocks out all other conflicting or distracting inputs.  Would you want
   to give an important political speech in the middle of Grand Central
   Station at the 5:00 p.m. rush hour?  Probably not.  You simply would not
   have people's undivided attention.  There would be too many distractions.
   We know that we are bombarded with aural input every minute.  Even in a
   relatively quiet room, there may be the sound of air-conditioning systems,
   flourescent lights buzzing, shoes squeaking, papers rustling, chairs
   scooting, not to mention the internal sounds of our own heartbeat, pulse,
   and respiration--plus anyone who is speaking and any music that is playing.
   Imagine how much more effectively our mind could concentrate on a message
   if most of these competing sounds were blocked out.

F. Stimulative music, while stimulating some bodily processes, may actually
   sedate others.  This fact is suspected, but not yet proven conclusively
   to my knowledge.  But we do know that some things stimulate some aspects
   of our activites [sic] while depressing others.  For example, three or four
   stiff alcoholic drinks may make you the life of the party (stimulated),
   but at the same time you may slur your words or trip over the carpet
   (these and other faculties have been numbed or depressed).  It is an
   interesting contradictory effect of some so-called "stimulants."

                                  III

                        Is Heavy Metal Really Different?

               (Or, "Isn't this just the same old fuddy-duddies
                   against the same old rock and roll?")

A. New musical styles have typically elicited negative reactions.  The waltz
   was considered a depraved and licentious phenomenon which should never re-
   place the more proper minuet.  Stravinsky's Rite of Spring was soundly
   booed at its premiere and described as primitive and animalistic.  Jazz
   was berated as decadent and immoral music.  And, of course, rock and roll
   was declared to be noisy and sexually provocative music from the begin-
   ning.