This article explores the consequences for music of its entry into the machine-age of sound, which involves, among other things, the de-instrumentalization of the ears and the possibility of an analytical listening ushering in the invention of digital tools that allow for a new graphic projection of musical time. Referring to important texts, notably by Bartók and Adorno, on the consequences of analogue sound reproduction for listening habits, musical analysis and even for the concept of writing…
Read moreThis article explores the consequences for music of its entry into the machine-age of sound, which involves, among other things, the de-instrumentalization of the ears and the possibility of an analytical listening ushering in the invention of digital tools that allow for a new graphic projection of musical time. Referring to important texts, notably by Bartók and Adorno, on the consequences of analogue sound reproduction for listening habits, musical analysis and even for the concept of writing, it looks at the ways the science of music in general has been and will be transformed by its digitalization, and notably, by a new epoch of musicality.
