I mean all of this essentially boils down to taking sound and assigning some sort of idea to it. What I hate (and what causes misguided judgment) is that it's nobody taking sound as sound. The dislike becomes a preconception and eventually evolves into an inability to hear the music that is actually there. We're smart enough to understand how and why each aspect exists in a sonic palette, to the point where we actively dictate each note under that concept. Screaming is one of the most massively misunderstood instances I could possibly think of, because if you can't dissociate what he's doing from what it sounds like and the effect it has on the music, then you're never gonna be able to appreciate it. It is, at its' core, a vocal effect. From there, how does it exist in the texture? Would it happen to be part of a very loud, dark, distortion-based timbre of sounds?
The way in which we are able to quickly understand exactly what's happening, if anything, forces us into a state where we then understand even less about the music.
To some extent this still relies on opinion for me to say this, but this is far from the extent of how much I am willing to defend the notion.
Am I saying you have to like each sound you come into contact with? Certainly not, but if you can't at the least take it for what it is and understand what qualities are apparent, rather than work off of what your perception may inherently tell you, then you may very well dislike something purely for not actually understanding it.
I am split about the passion argument. It, to one extent, relies again on an immediate perceptive judgment (this this and this are present so it sounds different), and it's worth noting that a Passionate C Major does not have any sonic difference from an "unpassionate" C Major. The judgment of whether or not music is "passionate" based on the structure also has flaws because there are certain easy-to-construct chord progressions that easily deceive the ear, and at times the "passionate" answer can actually be created via noncommittal and passionless methods. Thus, passion within music exists as an emotion not inherent of the designer or the piece, but is simply a fluctuating measurement of that particular emotion. To experience that emotion and appreciate it is all well and good, but to strive for it can lead to misconceptions.
Reasoning that creates passion is equally hard to gauge and is something I would also recommend caution on searching for. You would be surprised at how much can still be heard, even when the music is designed in such shallow reasoning.
It is probably a bit odd for me to argue you on that point because I do have similar feelings, but I do think those feelings have never led me to objectively "better" music. Sometimes due to searching for a purpose I missed a great deal of what I could appreciate.
