Editing Noise music (section)

==Definitions==
According to Danish noise and music theorist Torben Sangild, one single definition of noise in music is not possible. Sangild instead provides three basic definitions of noise: a [[musical acoustics]] definition, a second communicative definition based on [[distortion]] or disturbance of a communicative signal, and a third definition based in [[subjectivity]] (what is noise to one person can be meaningful to another; what was considered unpleasant sound yesterday is not today).<ref>Sangild, Torben, ''The Aesthetics of Noise''. Copenhagen: Datanom, 2002. pp.&nbsp;12–13</ref>

According to [[Murray Schafer]] there are four types of noise: unwanted noise, unmusical sound, any loud sound, and a disturbance in any signaling system (such as static on a telephone).<ref>Schafer 1994:182</ref> Definitions regarding what is considered noise, relative to music, have changed over time.<ref>Joseph Nechvatal, ''Immersion Into Noise'' (Ann Arbor: Open Humanities Press, 2012), p. 19.</ref> [[Ben Watson (music writer)|Ben Watson]], in his article ''Noise as Permanent Revolution'', points out that [[Ludwig van Beethoven]]'s ''Grosse Fuge'' (1825) "sounded like noise" to his audience at the time. Indeed, Beethoven's publishers persuaded him to remove it from its original setting as the last movement of a string quartet. He did so, replacing it with a sparkling ''Allegro''. They subsequently published it separately.<ref>Watson 2009, 109–10.</ref>

In attempting to define noise music and its value, Paul Hegarty (2007) cites the work of noted cultural critics [[Jean Baudrillard]], [[Georges Bataille]] and [[Theodor Adorno]] and through their work traces the history of "noise". He defines noise at different times as "intrusive, unwanted", "lacking skill, not being appropriate" and "a threatening emptiness". He traces these trends starting with 18th-century concert hall music. Hegarty contends that it is [[John Cage]]'s composition ''[[4'33"]]'', in which an audience sits through four and a half minutes of "silence" (Cage 1973), that represents the beginning of noise music proper. For Hegarty, "noise music", as with ''4'33"'', is that music made up of incidental sounds that represent perfectly the tension between "desirable" sound (properly played musical notes) and undesirable "noise" that make up all noise music from [[Erik Satie]] to [[Boyd Rice|NON]] to [[Glenn Branca]]. Writing about [[Japanese noise music]], Hegarty suggests that "it is not a genre, but it is also a genre that is multiple, and characterized by this very multiplicity&nbsp;... Japanese noise music can come in all styles, referring to all other genres&nbsp;... but crucially asks the question of genre—what does it mean to be categorized, categorizable, definable?" (Hegarty 2007:133).

Writer [[Douglas Kahn]], in his work ''Noise, Water, Meat: A History of Sound in the Arts'' (1999), discusses the use of noise as a medium and explores the ideas of [[Antonin Artaud]], [[George Brecht]], [[William Burroughs]], [[Sergei Eisenstein]], [[Fluxus]], [[Allan Kaprow]], [[Michael McClure]], [[Yoko Ono]], [[Jackson Pollock]], [[Luigi Russolo]], and [[Dziga Vertov]].

In ''[[Noise: The Political Economy of Music]]'' (1985), [[Jacques Attali]] explores the relationship between noise music and the future of society by considering noise music as not merely reflective of, but importantly pre-figurative of social transformations. He indicates that noise in music is a predictor of social change and demonstrates how noise acts as the [[subconscious]] of society—validating and testing new social and political realities.<ref>Allen S. Weiss, ''Phantasmic Radio'' (Durham, North Carolina: Duke University Press, 1995), p. 90.</ref> His alternative view of the standard history of music, with his emphasis on noise, theorized culture in a way that influenced many noise music theoretical studies to follow, such as [[Brandon LaBelle]]'s ''Background Noise: Perspectives on Sound Art'' (2006), [[Alan Licht]]'s ''Sound Art: Beyond Music, between Categories'' (2007), Thomas Bey William Bailey's ''Micro Bionic: Radical Electronic Music and Sound Art in the 21st Century'' (2009), [[Caleb Kelly (curator)|Caleb Kelly]]'s ''Cracked Media: The Sound of Malfunction'' (2009), [[Joseph Nechvatal]]'s ''Immersion Into Noise'' (2011), and Mark Delaere's ''Noise as a Constructive Element in Music Theoretical and Music-Analytical Perspectives'' (2022).