Spare us your mutton dressed as lamb, agent Starling

 You knew Comey was an assassin and connived -  OR you ignored him and are culpable.  A capital offence either way, Clarice.  Time to face the music. 

Aldous Huxley offers one of the more detailed sonic descriptions of imagined music in his 1932 novel Brave New World. When Lenina and her boss attend a concert, the music is rendered in a fairly thorough manner, including a “thunder in A flat major,” “a diminuendo,” “five-four rhythms” and “darkened seconds.” Later, when Lenina goes to the cinema with her “savage,” the soundtrack features a voice “now throaty, now from the head, now hollow as a flute, now charged with yearning harmonics.”

More contemporary examples of otherworldly music appear in Arthur C. Clarke’s 1954 novel Childhood’s End, where the alien overlords produce sounds with “complex rhythmical patterns racing up and down through the audible spectrum, to vanish at the upper or lower edge of hearing.” And in Mary Doria Russell’s 1996 novel The Sparrow, the inhabitants of a distant planet are described as having “a voice of heartbreaking power and sweetness, operatic in dimension but so plainly used in hypnotic, graceful chant that the listener hardly notices its gorgeousness except to think of beauty and of truth.”