chapter  5
Metal machine musics: Technology, subjectivity and reception
Pages 36

Any attempt to posit a connection between technological change and musical practice comes up against a number of challenges. As Michael Chanan points out, the history of music technology is highly problematic:

[for] musical instruments stand in the same ambiguous relationship of cause and effect to the development of works, forms and movements as their technological equivalents in the wider world; like the steam engine, for example, in relation to transport systems and the industrial revolution. In each case, the technology is both agent and symptom of change.1