Tek7 said:
Tracks like "On the Run," featured on "Dark Side of the Moon," set the stage for the genre (at least as I understand it; kraniac will likely correct me if I'm wrong).
Nope, he's right. Pink Floyd + post-disco music like Grandmaster Flash or Frankie Knuckles + Kraftwerk sort of all mixed together in a mid 1970's and 1980's soup, and when it coagulated, it formed into house, techno, and hip-hop. House kept the basslines and dancing, techno kept the psychedelia and minimalism, and hip-hop kept the beats and skratching.
My musical rule is that I'll listen to pretty much anything once.
Also, I think there's a distinction to be made between enjoyment and appreciation. I can appreciate the form, complexity, and ideas of traditional East African ceremonial drumming, or Schoenberg's highly influential (and highly dissonant)
Pierrot Lunaire, but it is well beyond my musical powers to enjoy them. Everybody has musical styles that they will naturally gravitate towards, and when you're driving in your car or playing video games, that's what should be playing in the background. But the music that you listen to when you want to listen to music... that should be almost anything on the musical map.
The difference comes from the fact that music is experienced on both a mental level and a visceral level. Music that is written to be enjoyed mentally is formal art music, and should be totally free of preconceptions of the listener. But popular music, in the widest sense that I can apply the term, is primarily a visceral experience and it is popular music that can cause pigeonholing of one's tastes. That isn't a statement against popular music, because it is still useful and able to be enjoyed, and without it we would be less able to experience the visceral appeal of music. But if we don't listen to formal art music, we're missing out on half the music experience.