"I like Celtic folk music, Native American music, and any kind of early music. There isn't a lot of music that I don't like... except for Show Tunes"

In this quote, Terri Windling reveals her musical choices with a distinct emphasis on categories that are often abundant in cultural and historic significance. By noting Celtic folk music, Native American music, and early music as favorites, Windling highlights an appreciation for standard and roots-based noises. These genres are typically defined by their deep ties to cultural heritage, storytelling, and the preservation of historical practices through music. Celtic folk music, for instance, typically integrates components like the fiddle, tin whistle, and harp, stimulating the landscapes and folklore of Ireland and Scotland. Native American music frequently includes a connection to spirituality and neighborhood, utilizing drums, flutes, and vocals in such a way that reflects tribal histories and worths. Early music refers broadly to middle ages, Renaissance, and Baroque music, carrying listeners to bygone ages with its detailed instrumentation and frequently ethereal, haunting melodies.

Windling's broad pleasure of music seems to stem from this abundant tapestry of history and cultural identity interacted through sound. Nevertheless, her statement takes a turn when she mentions disfavor for "Show Tunes". This choice shows a divergence in how she connects with the cultural and stylistic aspects of the aforementioned genres versus the theatrical and often business nature of show tunes. Show tunes, normally connected with Broadway musicals and theatrical productions, frequently focus on narrative storytelling and entertainment, perhaps contrasting with the more profound cultural expressions discovered in Windling's favored genres.

This dichotomy may show Windling's personal worths, drawing her more towards music that she views as authentic or traditionally rooted instead of the more performative and modern commercialism of show tunes. Her aversion does not necessarily suggest a lack of value in program tunes but rather suggests a subjective preference, highlighting her deeper psychological or intellectual connections to music steeped in tradition and heritage.