Relevant and retro: you can download a pdf of the complete book The science of music: or, The Physical basis of musical harmony by Sedley Taylor from Google Books.

The passage through the air of sounds of very great intensity is accompanied by effects which prove the atmosphere to be in a state of violent commotion. The explosion of a powder magazine is capable of shattering the windows of houses at several miles distance. Sounds of moderate loudness such as the rattle of carriage wheels the stamping of feet the clapping of hands are produced by movements of solid bodies which cannot take place without setting up a very perceptible agitation of the air. In the case of weaker sounds the accompanying air motion cannot, it is true, be ordinarily thus recognized, but even here a little attention will usually detect a certain amount of movement on the part of the sound producing apparatus which is probably capable of being communicated to the surrounding air.

Music is energy.

A very slight increase or diminution of loudness on the part of a single constituent tone is enough to produce a sensible change of quality in the clang. We should be still far below the mark if we allowed each partial tone four different degrees of intensity, though even this supposition would bring us more than eight thousand separate cases. Since many more variations of intensity are practically efficacious and also since the number of disposable partial tones need by no means be limited as has here been done to the first six, the above calculation will probably suffice to convince the reader that the varieties of quality which the theory we are engaged upon is capable of accounting for are almost indefinitely numerous.

“I do not play no rock and roll, y’all. I just play straight `A’ natchel blue.” – Mississipi Fred McDowell.

“Consider the following mosaic: Possible performances. Impossible narratives. Ruptured flow. Binary Dissonance. Questions of omission. The voice divorced from the body that gave it life, the face ruptured and ripped from the skull. Electro-modernity: a spacio-dynamic, disembodied, simultaneous, play of death. Morphing. Identity in continuous upheaval, in the multiplying mirror of memory. Reproduction. Replication: Asymmetric. Telekinetic. Dialectic. Flow. The body as a site of textual malleability. The mind as a locale of total recall. Total displacement. Who’s there? Erogenous, decoded amnesia. Biopsychic paradoxes. Eclipse of the self. Prosthetic. Synthetic. Memetic. Technophilia…” – DJ Spooky (aka Paul Miller)