Early mechanical music 2-octaves below ::: [14:56] !

Track 15, "Tableau a Musique. Wurtel E. Piefort". 

From the liner notes: Let us return now to a more classical world: these three tunes are performed by a musical picture -- i.e., a picture with three musical boxes of different sizes and timbres concealed behind a painted canvas. It is both exceptionally large (1.2m x 0.9m) and extraordinarily beautiful. At the base of the resonator is a label: 'Maison Wurtel E. Piefort Succ. Fabrique d'horlogerie et boites a musique, Passage Vivienne, 38 et 40, a Paris. 

Further research brought something perhaps similar: 

Galactic bird shit caught in space against the starry firmament of my car's hood.

Everything is music

Everything is music in a sense that everything is phrasing, is a level of touch and flow to be aware of, a bigger phrasing of, interaction and interrelationship in the way we embody events, know our energy, the span, our reach, our hold, our breath, our resonance, our tone, our timbre. In that sense everything is music in how we are aware of our embodiment, our wholeness, our language of response and integration, as music has shown us, as sound has shown us, melody, phrasing, duration, dynamics… In how we perceive events, environments, and flow in them, recognize within them our awareness of what's happening, how we conduct ourselves in reality. Because we are conductors. We conduct energy, we conduct the orchestration we are a part of. We're always free in how we know ourselves; know thyself. We're always free to encompass the fullest reach of what that means, as we know it, as we know it should be for us. This balance that enables us to make more out of the music of life, to dance through it and channel what we may call "inspiration" – working with this phrasing in artistic terms, in what wavelength we choose to drop in to. The word "phrasing" encompasses touch, energy, tempo, non-tempo, flow… As we grow, as our capacity expands and we experience and evolve ahead because of that, extend our threshold, our oversight, our insight, our innersight, to what something can mean for us, and how we discern our growth, our very first-person inter-influences that take us to a place of realizations that only we could manifest. People say "everything has been done", but, could you also say "everything has been not-done"? Because certainly everybody can discover a new way of simplifying out of everything they have learned – their techniques and languages of human performance, improvisation, or musical/artistic expression, practice, and warmup – everyone can find their own personal evolving meditation and yoga of deconstruction on the physiological elements of practice. This is our full work in consciousness, as the kind of artist we are, whether that's in movement or sounds or visual form, writing, poetry, composition, in how we develop into our own and use this music of life and come in touch with the essence of things which give us that way of our own to take part and acknowledge these expressive and creative forces of life, of form, formlessness, of dream. Of form as you've experienced and been shown in so many countless ways and directions that has informed you of different angles and atmospheres of perception. That you've danced from one form to another, one stepping stone to another in a way searching for, intuiting to the next sort of style, but flavor of a form, or something that you know you need for your further influence and growth. That's our practice, to know how we need to further influence ourselves. That's what "school" was also superimposing for us so long ago, but, in that way now, we direct and guide our way, search for…  these examples or things which give us that foothold, that affirmation, that encouragement. And these different states of awareness, perception and form that we carry are unique, and we go further with that, fortify ourselves more deeply with that, and it's something to work with expressively in this life, to handle and acknowledge or, this means of accessing other wavelengths. 

There are certain devices or components which can handle different states of frequency of media. And it's almost like the technology of our being is upgraded now to be able to play on these other circuits, is attuned or tuned-in to these different bandwidths, other stations, but different qualities of media, format, and we learn how to play these things, or we learn how to read these things, process, playback, reenact, translate, project. Because when we can do that, we can watch it, we can observe it, get our own perspective on it from the inside, relate with it on a metaphysical level. How deeply can we get in touch with it? Or, what do we know we really need to so deeply get in touch with? What is it that we're searching for, or what is it that's searching for us? There's this almost magnetic attraction that these forces start to have in us, they get sort of drawn together, they need this other component, and so we start searching, intuiting. There's an evolution of different parts that we start to tap into, sense. And everyone is unique in the state of things they appreciate and cultivate in their lives. Everyone. And that's the music of life. That's how we dance with life. How we stay grounded in this dance, this freedom, independence, in this music of life that enables us to really glide, really be in the touch of it, the phrasing of it, the way we behold the scene, the space, our place in these ensembles, these rehearsals. You come to a rehearsal, an ensemble, you're conducting, you're in the orchestra, you are devoted and committed to a certain piece, the touch, your place in it, your role, your position, your character, your presence, your clarity, your energy, and it's your awareness of your place in something bigger; you stay in touch with that sense of ensemble, balance, orchestration, instrumentation, thermodynamics. 

Some people say everything has been done, but, has everything been seen or heard or felt the same way? Does everybody perceive things in the same way? Of course not. It's endless. So it's the same in which we can also create, invent, explore, and discover. Everybody has a unique embodiment of experiences, a way in which things have been cooked within, ingredients, and the ways in which we've been nourished and fed, the way our soul opened up in this life; our parents, our family, in how and where we were grown up… So in that sense, no, not everything has been done, and we all actually have this totally open opportunity once we discover the means to work with something beyond definition, something beyond notes and theory, that's not trapped into a predictable vacuum. So in the sense that we have developed a way to open ourselves up to what this is that we are, what we can do about it, these ingredients we've been receiving or that we seek out for whatever reason that we are just naturally and holistically drawn to these things – certain mediums, artists, certain styles, qualities of culture, periods in history that free us from ourselves; in some way also freeing us from our own era, connecting us to a bigger picture that we can appreciate and almost feel ourselves a part of a cosmic movement, and then contributing to an evolution of something that we love.   

 (1920) "His exposure to _____ music in general helped to mediate if not veer him away from the _____ and other ______ influences still prevalent in America then. Later, fellow composer ______ would recall that in _____, he learned the principle of dépouillement—stripping down—from his studies with ______. He came to stress simplicity, as _____ wrote: "Remove, remove, remove what isn't needed. That stuck. The leanness!!—particularly in his instrumentation, which he himself termed 'transparent'." "