Definitions
Organized sound
An often-cited definition of music, coined by Edgard Varèse, is that it is "organized sound" (Goldman 1961, 133). The fifteenth edition of the Encyclopaedia Britannica describes that "while there are no sounds that can be described as inherently unmusical, musicians in each culture have tended to restrict the range of sounds they will admit." Michael Linton, took the definition a step further to add that the form in which music is organized is an important element of the music itself. His definition of music is "the organization of sound and silence into forms that carry culturally derived meanings, cultivated for aesthetic or utilitarian purposes".[cite this quote]
"Organization" also seems necessary because it implies purposeful and thus human organization. This human organizing element seems crucial to the common understanding of music. Sounds produced by non-human agents, such as waterfalls or birds, are often described as "musical", but rarely as "music". See zoomusicology. This definition determines music according to the poetic and the neutral levels (it must be composed sonorities), or more aesthetically, 'the artful or pleasing organization of sound and silence',[cite this quote] which determines music according to the esthesic. This definition is widely held to[weasel words] from the late 19th century forward, which began to scientifically analyze the relationship between sound and perception.
Additionally, Schaeffer (1968, 284) describes that the sound of classical music "has decays; it is granular; it has attacks; it fluctuates, swollen with impurities—and all this creates a musicality that comes before any 'cultural' musicality." Yet the definition according to the esthesic level does not allow that the sounds of classical music are complex, are noises, rather they are regular, periodic, even, musical sounds. Nattiez (1990, 47—48): "My own position can be summarized in the following terms: just as music is whatever people choose to recognize as such, noise is whatever is recognized as disturbing, unpleasant, or both." (see "music as social construct" below)
Main article: Musical language
Many definitions of music implicitly hold that music is a communicative activity which conveys to the listener moods, emotions, thoughts, impressions, or philosophical, sexual, or political concepts or positions. "Musical language" may be used to mean style or genre, while music may be treated as language without being called such, as in Fred Lerdahl or others' analysis of musical grammar. Levi R. Bryant defines music not as a language, but as a marked-based, problem-solving method such as mathematics (Ashby 2004, 4).Because of its ability to communicate, music is sometimes described as the "universal language".[citation needed] Yet the "meaning" of music is obviously culturally mediated.[citation needed] For example, in Western society, minor chords are often perceived as "sad", an understanding other cultures rarely share.[citation needed]
There is significant complexity in the structural elements of music which warrant the perception of music as a language. For example, genres of music can be characterized by the manner in which sound and silence are articulated, organized, and disseminated. The composition of these elements gives rise to a system which is on par with the complexities and subtleties of 'language'.[citation needed]
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