Music and technology, from vinyl to MP3

Abstract

The many technologies related to the processes of sound recording came to be understood, since the 60s, as “expressive means” that enable the appearance of new languages and procedures linked to the musical creation. By abandoning its supporting role, technology, mainly since the digital systems in the 90s, raises a large number of questions about the creation, recording and duplication processes of a musical work, where several concepts must be rethought and reconfigured. And, with the popularity of the Web from the late 90s on and consequently the movement of the sound work detached from any relationship with the physical media, we have today a new industry, new creation processes and a whole new approach of the issues linked to the relationship between music and technology. Finally, technology is an important element in the building of a sound singularity, something essential in popular music and even in some specific cases of classical music, as we can see in the recordings of Glenn Gould. Therefore, it is necessary to have a clear view of these processes (starting with vinyl records until the digital possibilities of today) as well as to understand technology as one of the most important “expressive means” of sound creation.