(7) Liking has a great deal more to do with familiarity than you think it does, and substantial music cognition research backs this up.

My post says in two separate places that familiarity leads to liking; and this is why the question of whether I should continue to listen to the Great Fugue is a problem.

If liking is just about familiarity, then it doesn't matter what we listen to, and music criticism, and music theory, and all of art, is bogus.

I'm very familiar with the song "My Sharona" by The Knack, because I had a housemate in college who played it frequently. I hate it. I'm also very familiar with the Green Acres theme song. I think that I hate it, yet I find it so compelling that it can get stuck in my head for an entire day - which requires some kind of greatness.

(5) I am totally baffled why you are so convinced that quality must be something that inheres to a piece of music. Quality is subjective, or at most inter-subjective, and aesthetic judgments do not contain truth value.

My post doesn't say that. Theory 4 explicitly rejects that view. But if you strongly believe that aesthetic judgement has no truth value, even relative to your human biology and your culture, then musical training is a waste of time, and I am confused as to why you would call yourself a musicologist, since you then have no more understanding of music, and no better taste, than anyone else.

My knowledge of Alban Berg is limited. I have listened to his music for only about one hour total in my entire life, because I found it painful to listen to.