What is it about beautiful sounds that makes them beautiful?
What is it about good feelings that makes them good?
How deep is the distinction between active spontaneous thought and passive reception of sensation, and what rides on the distinction?
Transcendental arguments of the form — if such and such were not the case our experience would just be a flux — assume we know what would be the case if our experience was a flux. Do we? What would have to be the case if our experience were a flux and how do we know?
When we pick and choose what rules to follow how do we do it? What’s the difference, if there is one between “just” picking and choosing and simply picking and choosing?
Eric Linus Kaplan 
Beautiful sounds are beautiful because they evoke (by similarity) good feelings. Battle march – heart beat and marching rhythm; Dirge – mourning wail; pop songs – other pop songs etc.
Feelings and all experiences are framed by goodness. Like a sentence is made of letters and words, any feeling is made of a value as well as some other stuff. The good ones are the ones which are marked as something to try to replicate.
Active thought and passive reception of sensation are not clearly distinct any more than red and orange.
We wouldn’t know if our experience was a flux. We wouldn’t know anything. But then in any instant moment I suppose it might feel like we know stuff. Wait, what does this question even mean?
We have rules which we follow to pick and choose rules. And we’re born with a few rules, to get us started.
heard melodies are sweet but unheard ones are sweeter