Cacophony

Cacophony (pronounced kuh-kof-uh-nee)

(1) A harsh discordance of sound; dissonance.

(2) The use of unharmonious or dissonant speech sounds in language.

(3) In music, the frequent use of discords of a harshness and relationship difficult to understand.

1650-1660: From the sixteenth century French cacophonie (harsh or unpleasant sound) from the New Latin cacophonia, from the Ancient Greek κακοφωνία (kakophōnía) (ill or harsh sounding), from kakophonos (harsh sounding), the construct being being κακός (kakós) (bad, evil) + φωνή (phōnḗ) (voice, sound) from the primitive Indo-European root bha (to speak, tell, say).  The source of kakós was the primitive Indo-European root kakka (to defecate), something which may have been in mind in that notable year 1789, when first cacophony was used to mean "discordant sounds in music".  Cacophony is a noun, cacophonic & cacophonous are adjectives, cacophonously an adverb and the noun plural is cacophonies.  The most natural antonym is harmony although musicologists tend to prefer the more precise euphony.

Noise as music

There were twentieth century composers, all of whom thought themselves both experimental and somewhere in the classical tradition, who wrote stuff which to most audiences sounded more cacophonous than melodic.  Some, like Béla Bartók (1881–1945) and Arnold Schönberg (1874–1951) had a varied output but for untrained listeners seeking music for pleasure rather than originality or the shock of something new, the work of Karlheinz Stockhausen (1928–2007), Charles Ives (1874–1954) and Philip Glass (b 1937) was no fun.  Some critics however, trained or otherwise, claim to enjoy many of these cul-de-sacs of the avant-garde and find genius among the noise.  Comrade Stalin (1878-1953; Soviet leader 1924-1953) would have called them formalists.

In popular (sic) culture, Lou Reed (1942–2013) in 1975 released Metal Machine Music, either (1) to fulfil a contractual obligation to a record label with which he no longer wished to be associated, (2) to annoy critics and others he didn’t like, (3) as a piece of electronic music, (4) to win a bet with Andy Warhol (1928-1987) or (5) because he was suffering an amphetamine induced psychosis.  Known as MMM or 3M by fans and categorized by most as noise, drone, industrial or minimal, it’s about two hours of modulated feedback running at different speeds.  Despite the derision attracted at the time, it’s since built a cult following and has been performed live, one approving reviewer suggesting MMM is best understood as “…electricity falling in love with itself”.  The original release was a double album on twelve-inch vinyl and featured a “locked grove” on the final track meaning the noise endlessly would loop, theoretically forever.  This trick couldn’t be done on the new medium of the CD but there were no complaints the omission detracted from the experience.