If in the past people would listen to music out of love for music, nowadays it roars everywhere and all the time, "regardless whether we want to hear it", it roars from loudspeakers, in cars, in restaurants, in elevators, in the streets, in waiting rooms, in gyms, in the earpieces of Walkmans, music rewritten, reorchestrated, abridged, and stretched out, fragments of rock, of jazz, of opera, a flood of everything jumbled together so that we don't know who composed it {music become noise is anonymous}, so that we can't tell beginning from end {music become noise has no form}: sewage-water music in which music is dying.
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In Kundera's perspective, music has transformed from a cherished form of art into a ubiquitous presence that overwhelms our daily lives. Unlike in the past when music was listened to out of genuine appreciation, it now surrounds us continuously, often when we least expect it. This omnipresence creates an environment where music loses its individual significance, becoming a disconnected and chaotic blend of various genres and styles.
The author's description highlights a critical loss: as music turns into noise, it gains anonymity and formlessness, making it difficult to discern its origins or meanings. This experience of "sewage-water music" implies a degradation of artistic value, suggesting that in our contemporary world, the beauty and depth of music are at risk of vanishing amid this overwhelming torrent of sound.
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