all of which are covered by the various clauses of The 1954 Definition

The question then is what the people who drafted the 1954 definition - and everyone who's used it since, content in the belief that it says something reliable about the difference between the Seeds of Love and the Brandenburg Concertos - were playing at. If a time-travelling Suibhne had pointed out to Maud Karpeles that The Definition was capable of covering all music made by human beings, past, present and future, would she have replied:

a) "Quite right, dear boy, and so it should."
or
b) "Good heavens, I'm sure we didn't mean it to mean that! Let me have another look at the wording."