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.

According to his official North Korean biography, Kim Jong Il initiated “an epochal change in the history of the modern opera” by introducing an offstage song called a pangchang—an innovation, claims the bio, “greater than the discovery of the heliocentric theory by Nicolaus Copernicus or the discovery of the New World by Christopher Columbus.”

The medieval Occitan troubadour known as the Monk of Montaudon was a master of the enueg, “song of annoyance.” “I can’t stand a long wait,” he complains in one composition, written around 1200, “Or a priest who lies and perjures himself / Or an old whore who is past it, / And—by Saint Delmas—I don’t like / A base man who enjoys too much comfort.” The song goes on in this fashion for nine more verses.

Researchers working with the Tsimané of the Amazon found that tribe members could tell the difference between consonance and dissonance but took them to be equally pleasant, giving credence to the idea that Western preference for consonance is not biological. “The Greeks were really into ratios,” speculated the lead researcher. “It’s possible they started making music that way and we’ve been stuck with it ever since.”