From Dane Rudhyar at http://www.khaldea.com/rudhyar/soundbecomemusic.html
An apparently basic distinction can be made between noises, recognizable natural sounds (like animal cries, the sound of a running brook or waves breaking on a sandy beach), and, strictly speaking, musical sounds. In the past, musical sounds were produced by the human voice and musical instruments — musical because their use normally was restricted to the production of musical sounds. Noises did not belong to the field of music; nature's sounds were used very rarely and only episodically, but recently their use has increased. What then decides whether a sound can be considered musical? The answer is, the culture of a particular group of human beings.
The term culture may be interpreted at several levels of meaning. In this case It refers to the expectation which people conditioned by a particular culture have of hearing certain sounds or not hearing others. It refers to what has become customary or traditional in a number of definable circumstances — for example, attending a church service, listening to a troubadour returning from the Holy Land, or crowding a modern concert hall to hear a specially trained virtuoso or an orchestra. The specific circumstances in which music is heard are very important because, at least originally, they have much to do with the "musical" character of the sounds heard and the psychic or personal responses of those hearing them. As these cultural circumstances alter, the possibility arises of a corresponding change in what constitutes a musical sound. Sooner or later not only the musicality of various types of sounds, but also the expected character of combinations of these sounds (that is, musical "form") changes in order to satisfy a new kind of desire — the desire to meet psychological needs aroused by new social circumstances, particularly a new type of family life, education, and daily work.
Music/noise included: Hafler Trio, Etante Dons, Asmus Tietchens, PGR, Blackhouse, Muslimgauze and a lot more.
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