sorry your definition comes from where?
the more generally accepted definition of music (amongst music scholars for as tart and many more besides) does not attach the qualifiers that you do
Music is sound structured in time (and is usually teamed with a definition of architecture as music in space)
otherwise we have to discount entire lines of musical development not found in the the western art or popular music traditions such as percussion ensembles (completely consisting of drums and rattles and shakers and unpitched bells)
to accept your overly constrained definition is to say that any drummers from Africa are not musicians or composers, not a debate I would like to enter into, given the large number of folks here at fp who are proud of their continental African
heritage.
it would also mean denying "In C" by Terry Riley as being music as it has neither melody or nor harmony (by your limited definition)
Let's go before Stockhausen to
Busoni, who are articulated a new Aesthetic of Music to include non-instrumental sound,
Russolo, who independently classified and defined the art of noise,
Schaeffer
Schaeffer - Orphée 53
Schaeffer - Apostrophe
Schaeffer - Études de bruits
Varese
Poème électronique
Ionisation
Amériques
Hyperprism
Ecuatorial
All of these are known as
the original noise merchants in music, the dadaists and experimenters: what these people did is no different to what Marcel Duchamp did with the urinal and other mundane, commonplace items; transfer them from their normal context to a gallery and they are transformed into art: by changing the context of the sounds from the ordinary, the everyday, the background noise they are making it music.
it is also important to note that these individuals and their contemporaries are
the reason why we have the technology we do today - without their quest for better ways to articulate their ideas without spending countless hours editing tape (read cutting it up and splicing it back together), the push to create analogue and later digital synthesisers and samplers would never have been on.
you obviously are unfamiliar with
Leroy Anderson (the typewriter song) and
Col Joye (Oh, Yeah, Uh, Huh), both of whom used a typewriter to provide rhythmic background for musical works - yes they contextualised it within the framework that you describe above, but that framework is limited and pushes a Western Art music agenda.