How Music Works

Byrne considers the influence of analog technology on the development and perception of music. This exploration begins with the dawn of sound recording in 1878, a pivotal moment that altered the auditory landscape, much like photography revolutionized the visual realm.

Byrne paints a picture of a world before widespread recorded music. Music, in its original form, was a live, ephemeral experience, a participatory activity deeply rooted in social and cultural practices. People engaged with music in their homes, at religious services, or as part of an audience at live performances. This transient nature of music, where only memories served as records, allowed for subjective experiences colored by social influences and personal biases.

The introduction of recording technology shifted this landscape. Byrne illustrates this change by quoting Walter Murch, a film director, who described music as “the main poetic metaphor for that which could not be preserved” (75). Recording technology began capturing these fleeting moments, allowing for repeated playback and transforming the way music was consumed and appreciated.

Thomas Edison’s early forays into sound recording, primarily with his cylinder recorders, are a focal point in Byrne’s discussion. Initially designed as dictation machines, these devices were rudimentary in capturing sound. The process, as Byrne describes, involved a horn capturing sound waves, which then vibrated a diaphragm connected to a needle. This needle etched the captured vibrations onto a rotating wax cylinder. Despite its simplicity, this process marked the genesis of sound recording.

However, the authenticity of these recordings is questionable. Edison’s claim that his devices produced exact replicas of live sound was a subject of debate, reflecting a broader theme in the chapter: the pursuit of authentic sound reproduction versus the biases inherent in both technology and human perception.

The cultural ramifications of this shift from live to recorded music are considerable. Byrne studies how recorded music began to enter private spaces, altering the social dynamics of music consumption. He recounts contemporary concerns about this shift, where some feared it represented a decline in public engagement with music. This transition from a collective to a more individualistic experience of music raised questions about the role of technology in cultural practices.

Byrne further explores the technical advancements and limitations of early recording technology. He discusses the challenges faced by Edison’s cylinder recorders, such as their limited fidelity and inability to accurately capture the full range of sounds. This led to a continuous evolution in recording techniques, striving for more faithful reproductions of live sound.

In discussing the impact of recording technology, Byrne also touches on the notion of music as a preserved artifact. The ability to record and replay music meant that performances could be immortalized, changing the way musicians approached their art and how audiences experienced it. This permanence of recorded sound also influenced the evolution of musical styles and genres, as artists began to create music with the knowledge that it could be heard repeatedly and by a wider audience.

The chapter also examines how recording technology has transformed music. For example, vibrato in singing and orchestral music became much more popular after the spread of recorded music. Additionally, recordings allowed for more cross-cultural influences as musicians heard music from places they never visited. Later, song lengths were influenced by different formats—45 RPM records could hold up to four minutes of audio per side, which made three-to-four-minute-long songs standard.

This transformation was not without its challenges and controversies. Byrne discusses the tension between the desire for authentic sound reproduction and the limitations and biases of the recording technology. This tension manifested in debates about the “purity” of music and the role of technology in artistic expression. While some embraced these technological advancements for the new possibilities they offered, others lamented the loss of the raw, unfiltered essence of live performances.

Edison’s initial attempts were constrained by the technology of the time. The recordings, while novel, lacked the nuance and depth of live music. This led to a continual pursuit of technological improvements aimed at bridging the gap between live and recorded sound. Magnetic tape recording, which was invented in Germany in the 1930s and disseminated after World War II, allowed for audio to be cut and spliced from multiple takes, whereas earlier methods required a single complete recording session. Multitrack recording allowed for greater sound fidelity in the recording studio. The development of long-playing records (LPs), cassette tapes, and boomboxes all changed an individual’s relationship with music.

Alongside recording technology, instruments changed in this era as well. Byrne discusses the impact of theremins in creating sci-fi soundscapes and the revolutionary inventions of electric guitars, amplifiers, and synthesizers. Likewise, listening technology was used in unexpected ways, like using LPs and turntables to create dance music and, eventually, the beats used in hip-hop.