Extreme Musical Reductionism
Extreme musical reductionism (often shortened to EMR) is a behavioral pattern seen not only in people connected to music and the musical industry, but also ordinary laymen. It is defined as repulsion from anything new, progressive or innovative while simultaneously trying to excessively simplify even the slightest complexities in music to one, fully universal unit. In plain english, it's main goal could be defined as making everything too simple.
Principles
The principles of EMR are polar opposites to those of MCB (musical complexity bias). Being against innovation, staying closed-minded and rejecting any ideas that don't fit the 1+1 level image of music in their mind.
Subgrouping
EMR-ists can either be purist or just stupid.and not capable of counting over 2. For the purists, there are juds, whereas the stupidside has the "Everything is in 4/4" people and, of course, the This-is-just-ists.
Purism
Musical genres are all unique in not only the way they sound, but also the moral pillars their communities are based on[1], which reflects in some of the more radical corners - particularly elitist and purist corners. What these people "reduct" in a way is the amount of "good" songs being limited to only their "perfect" taste. They could even go out of their way just to tell someone their taste sucks and sometimes even attack them for it - this is because they see any subjective opinions as inferior.
This form of EMR is spread by people who pursue their genuine need to put down anyone who comes up with a new idea (or at least anyone who thinks they do) by telling them what they described is LITERALLY JUST *something else* if you added *this* and *that* which TOTALLY RUINS INNOVATION because it's can be traced down to music being LITERALLY JUST sound that sounds nice. The main problem of this-is-just-ism is that all it does is it brings up a definition of something as if the definition was invalid for the thing to be a word at all.
No it isn't and I will jump you today.
Though this whole "theory" may be satire at times, it's obligatory to explain why it's wrong - time signatures are meant to separate melodies into parts that make sense. Counting everything in 4/4 is fun and interesting for a polymetric version or remix, but it's equal to counting everything in 93893/160000 or other ridiculous meters like that (as long as the song continues long enough). It not only destroys the interesting theory behind a song (if it's in an uncommon time sig.), but also cuts off the path of the intentions of the composer from the listener and mostly doesn't even make sense.