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.