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Noise music (also known as noise) is a subgenre of experimental music that is characterised by its use of unwanted noise as a primary musical element. The genre has roots in early 20th century avant-garde music, but later drew influence from industrial music. It is characterized by a rejection of conventional music theory and traditional song structures, often featuring little or no melody, rhythm, or harmony. This type of music tends to challenge the conventional distinction between musical and non-musical sound.

"Noise as music" originated as an avant-garde music style in the 1910s through the work of Luigi Russolo an Italian Futurist, who published the manifesto The Art of Noises in 1913. Elements of noise music were later explored by artists in the Dada and Fluxus movements, as well as through electroacoustic music, modern classical and musique concrète. During the 1960s and 1970s, the genre began to be practiced more by amateur musicians than academics. Lou Reed's Metal Machine Music became an influential work for later noise artists. However, compositions such as Robert Ashley's "The Wolfman" (1964) and Pauline Oliveros "A Little Noise In The System" (1967) are among the earliest examples of contemporary noise music.

By the late 1970s and early 1980s, the emergence of industrial music and commercial synthesizers, encouraged non-musicians to experiment with strictly noise-oriented styles, leading to genres such as power electronics, coined by English noise act Whitehouse, as well as post-industrial styles like dark ambient, death industrial and power noise. In Japan, the Japanoise scene which stemmed out of the Kansai no wave movement, produced several influential noise acts such as Merzbow, Hijokaidan, Hanatarash, C.C.C.C. and Incapacitants, who, together with American and European noise artists the Haters, Daniel Menche, Vomir and Richard Ramirez, contributed to the emergence of harsh noise and harsh noise wall into the 1990s and 2000s.