Hoping to encourage hostages held by FARC during Colombia’s civil war, state negotiators commissioned a local producer in 2010 to create a pop song embedded with a Morse-code message and had it broadcast repeatedly on the radio in rebel-controlled areas. After the lyrics “Listen to this message, brother,” the code sounded as a synth interlude: “Nineteen people rescued. You are next. Don’t lose hope.”

Beware a comet “if it resembles a flute,” Pliny the Elder warned; “it portends something unfavorable related to music.” The Roman author did not offer further particulars.

In 2009 a twenty-four-year-old policewoman in Long Branch, New Jersey, responded to complaints about an “eccentric-looking old man” peering into a house. She asked the man his name. “I’m Bob Dylan,” he said. “I’m on tour.” Taking him for a liar, she put him in the back of her car and drove him to his hotel, where others confirmed he really was the musician. “I think he named a couple of songs,” she later recalled. “But I wouldn’t have known any of the songs.”

Before the nineteenth century, a conductor’s baton was a baseball-bat-size implement that was banged against the floor to keep time. This could be dangerous. In 1687, while conducting a symphony playing Te Deum for Louis XIV, who had just recovered from serious illness, composer Jean-Baptiste Lully accidentally struck his foot with his baton, causing inflammation in his toe. He refused amputation, and an infection spread, killing him two months later.