The moderator who unilaterally closed How can a layperson in 2017 hear the Perfect Fourth as dissonant, to empathize with the Renaissance's judgment? commented:
Both questions "Instead, how can I empathize with those who judged the P4 as dissonant?" and "What can I do to stop hearing the P4 as consonant (that Western music from 1700 onwards habituate me to do), for hearing the P4 as dissonant from Renaissance music's context/mindset? " are option based. If you can't hear the 4th as dissonant that's fine you'll just have to understand that to someone from the Renaissance, it is a dissonant interval. You're not going to rewire what you hear as consonant or dissonant.
Do the following articles counter the bolded sentence?
Then the researchers tested how both groups felt about beating. They found that the amusics could hear it and disliked it about as much as the control group. So apparently something else was causing the latter to dislike the dissonant intervals. [...] The amusics, meanwhile, registered no difference between the two cases: they seem insensitive to harmonicity.
This suggests that preference for consonance over dissonance isn’t baked into universal human auditory processing, but is rather something we develop by being exposed to certain kinds of frequency relationships in the music that we hear. It might be that, because Tsimane music doesn’t make use of harmony, the Tsimane people might not develop preferences for certain harmonies over others. It’s not clear whether they were even able to tell the difference between dissonance and consonance at all. Their brains might not have learned to tell the difference.
[...] “This study suggests that preferences for consonance over dissonance depend on exposure to Western musical culture, and that the preference is not innate,” says Josh McDermott, the Frederick A. and Carole J. Middleton Assistant Professor of Neuroscience in the Department of Brain and Cognitive Sciences at MIT. [...] The findings suggest that it is likely culture, and not a biological factor, that determines the common preference for consonant musical chords, says Brian Moore, a professor of psychology at Cambridge University, who was not involved in the study.
“Overall, the results of this exciting and well-designed study clearly suggest that the preference for certain musical intervals of those familiar with Western music depends on exposure to that music and not on an innate preference for certain frequency ratios,” Moore says.