Jonathan L. Friedmann, Ph.D.
After World War II, audio recordings gradually replaced sheet music as the dominant means of distributing music to consumers. As a result, the musical centerpiece of the family home moved from the piano to the hi-fi system and, consequently, from active music-making to audition and record collecting. The LP (331⁄3 rpm, long-playing, microgroove vinyl disc), introduced by Columbia Records in 1948, revolutionized the music industry. Along with changing habits of consumption, records transformed basic perceptions about music. Fleeting sounds became fixed objects.
Recordings had been around since Thomas Edison’s mechanical phonograph cylinder, patented in 1878. Within two decades, commercial recordings and distribution grew into an international industry. Popular titles at the beginning of the twentieth century sold millions of units. Gramophone records, which were easier to manufacture, ship, and store, hit the shelves around 1910, and subsequent advances in technology made audio recordings increasingly accessible. Still, sheet music—and the piano playing it depended on—remained king. The wholesale value of printed sheet music more than tripled between 1890 and 1909, when 25,000 songs were copyrighted in the U.S. Sheet music sales totaled 30 million copies in 1910. The popularity of printed music continued through the 1940s. An article in Variety on October 4, 1944 boasted “Sheet Music Bizz at 15-Year Crest.”
Sales declined precipitously as the 1940s moved into the 1950s. The days when hit songs were fueled by a combination of sheet music and, secondarily, record sales gave way to our recording-dominated era. A Variety article from November 21, 1953 captured the turning point: “Publishing Industry Alarmed by Pop Sheet Music Decline.”
The current ubiquity of recordings is the culmination of a centuries-long effort to mechanically reproduce sound—an evolution that began with musical notation and continued with programmable devices (hydro-powered organs, musical clocks, music boxes, player pianos, and the like). However, earlier inventions still required manual engagement and/or autonomous real-time devices/instruments. With recordings, sounds disembodied from their performance could be played back at any time. Music itself became the object.
Michel Chion details seven ways recording technology facilitated the objectification of music: (1) capturing ephemeral sound vibrations and converting them into a permanent medium; (2) facilitating telephony, or the retransmission of sounds at a distance from their original source; (3) enabling new ways of systematic acousmatization, or the ability to hear without seeing; (4) allowing sounds to be amplified and de-amplified through electronic manipulation, as opposed to the crescendo or decrescendo of live instruments; (5) affording phonofixation, or the fixing of sounds and reuse of fixed sounds in the recording studio; (6) paving the path toward phonogeneration, or the creation of sound “out of nothing” by way of synthesizers and computers; (7) giving engineers the ability to reshape sounds through editing, processing, and manipulation.
This last effect, in particular, contributes to Chion’s view of sounds converted into objects: “recording has been—above all from the moment that it enabled editing—the first means ever in history to treat sounds, fleeting things, as objects: that is to say, both in order to grasp them as objects of observation and in order to modify them—to act on their fixed traces.” Likewise, the listener’s control over recordings—through pausing, skipping forward, changing volume, using multiple devices, etc.—furthers the impression of music’s “thing-ness.”
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