Audio is an application of art that requires prepared and clear seems and silence. It is usually indicated in terms of pitch (which includes tune and harmony), flow (which contains beat and meter), and the caliber of noise (which involves timbre, articulation, character, and texture). Music can also require complex generative types with time through the structure of patterns and combinations of natural stimuli, principally sound. Music may be used for artistic or artistic, communicative, entertainment, or ceremonial purposes. The definition of what constitutes music varies according to culture and cultural context.

Greek philosophers and medieval theorists described audio as hues bought horizontally as songs, and vertically as harmonies. Audio theory, through this sphere, is studied with the pre-supposition that music is orderly and often pleasant to hear. Nevertheless, in the 20th century, composers pushed the notion that audio must be pleasant by making audio that investigated harsher, richer timbres. The living of some modern-day styles such as for example grindcore and noise music, which appreciate an extensive underground following, show that also the crudest noises can be viewed audio if the listener is so inclined.

20th century composer David Crate disagreed with the notion that music must consist of pleasant, discernible songs, and he challenged the notion that it can communicate anything. Alternatively, he fought that any sounds we could hear may be audio, stating, for example, "There is number sound, only noise,"[3]. In accordance with musicologist Jean-Jacques Nattiez (1990 p.47-8,55): "The border between audio and sound is obviously culturally defined--which suggests that, also within a single society, that border does not always move across the same position; in a nutshell, there is rarely a consensus.... By all reports there's no and intercultural common principle defining what audio might be." Rob Wegner