In the beginning, there was the phonograph, followed by the gramophone, the turntable, the 8-track, and the cassette player, then the Walkman, the MP3, the CD, and finally, Spotify. It’s not just the content that shapes the listening experience, the devices themselves play a crucial role. The history of music is intertwined with its playback devices, which have evolved how we experience it. From the cylinder recordings of the phonograph to the disc playback of the gramophone, and eventually to the vinyl records of the turntable, each device has influenced the musical experience. With the advent of the 8-track and the cassette player, portable listening became accessible, while the Walkman revolutionized mobility. The MP3 and CD enhanced quality and convenience, and today, Spotify offers instant access to music through on-demand streaming. Each technological innovation has shaped not only how we listen but also how we live and share music. These devices influence not only how we listen but also what we listen to. The characteristic sound of each player defines the tastes and sonorities of an era, leaving an imprint that often stays with us over time. Like the crackle of a needle on a vinyl record, a sound so iconic that it is often recreated digitally to evoke a nostalgic effect.
7 designs that changed the way we listen to music forever
From the 1950s to today, they’ve shaped our listening experience. Now part of the SF MoMA collection, they are celebrated as true works of art. Discover our selection.
© Dieter Rams and Hans Gugelot. Courtesy San Francisco Museum of Modern Art. Photo: Katherine Du Tiel
Courtesy San Francisco Museum of Modern Art. Photo: Don Ross.
Courtesy San Francisco Museum of Modern Art. Photo: Don Ross
Courtesy San Francisco Museum of Modern Art. Photo: Katherine Du Tiel.
Courtesy San Francisco Museum of Modern Art. Photo: Don Ross
Courtesy San Francisco Museum of Modern Art.
Courtesy San Francisco Museum of Modern Art.
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- Giorgia Aprosio
- 18 September 2024
People love vinyl irrationally, just as they love many other things. There is meaning in carefully placing the record on the turntable and lowering the needle. It is a reverential, ritualistic gesture.
Tracey Thorn, singer, songwriter, writer, The New Statesman, 2017
Your text sets up a clear, concise overview of the exhibition and its focus on audio devices as art objects. Here's a refined version:
"Art of Noise," a recent exhibition at SF MoMA, highlighted the pivotal role of audio playback devices in music history. Featuring innovations like the 1956 Braun SK-4 by Dieter Rams and Hans Gugelot and the 2024 Arborhythm by Yuri Suzuki, the exhibit traced the evolution from elegant furniture pieces to portable technologies. Many of these devices are now preserved as artworks in the SF MoMA's permanent collection. Explore 7 iconic examples of this progression in our gallery.
The Braun SK-4, designed in 1956 by Dieter Rams and Hans Gugelot, revolutionized the world of stereo systems with its minimalist design and plexiglass cover. This pioneering model combined modern aesthetics with high functionality, marking a turning point in audio equipment design. Its innovative design, featuring transparent plexiglass that provides a clear view of the internal components while protecting the device from dust, profoundly influenced 20th-century industrial design and had a lasting impact on how we conceive and use consumer electronics.
The Verner Panton 3300 Stereo, designed by the eponymous designer, is a masterpiece of audacity. Launched in the 1960s, it broke with the conventions of the time thanks to its futuristic shape and advanced technical features. This model not only challenged traditional aesthetic norms but also anticipated the concept of radical design applied to audio, making it a pioneer in the integration of form and function and a symbol of progress and creativity in the hi-fi world, influencing subsequent generations of designers. The piece was acquired by the SF MoMA Acquisitions Committee, through exchange, thanks to a donation from Michael D. Abrams.
Launched in the 1960s, the RR126 Stereo System by brothers Achille and Piergiacomo Castiglioni, produced by Brionvega, stands out for its modular and compact design. This system not only enhances the listening experience but also transforms the home audio setup into a piece of furniture. The Castiglioni brothers' innovative approach revolutionized the aesthetics of stereo systems, leaving a lasting mark on industrial design and making the stereo an essential element in Italian living rooms. The piece was acquired by the SF MoMA Acquisitions Committee, through exchange, thanks to a donation from Michael D. Abrams.
The Pop Automatic Record Player by Mario Bellini brought a new dimension to turntable design. Introduced in 1970, this model is known for its elegant cylindrical shape and innovative design, which simplified the use of the turntable, making vinyl listening a modern and effortless experience. Constructed with high-quality plastic and metal, the turntable features a compact form that makes it not only visually appealing but also easy to carry and position in various environments. The intuitive functionality, combined with advanced materials, has made the Pop Automatic a success for its performance and distinctive visual impact, marked by its colorful and attractive casing. The item was bequeathed by the George R. Kravis II Collection to the SF MoMA.
The Rosita Vision 2000, designed by Thilo Oerke and Rosita Tonmöbel and launched in 1970, is distinguished by its modular design, slanted front panel, and ergonomic controls that made user interaction particularly intuitive. Technically, the model integrated a high-fidelity amplifier and a radio tuner, offering superior sound quality for the era, available right at home. However, its impact goes beyond performance: as early as 1967, the Rosita Vision 2000 appeared in Jacques Tati's film "Playtime," featured in a futuristic and modern setting that reflects the period's perception and its role as a symbol of innovation. The piece was acquired by the SF MoMA Acquisitions Committee, through exchange, thanks to a donation from Michael D. Abrams.
The Concrete Stereo by Ron Arad, designed in 1986, is a pioneering example of how unconventional materials can revolutionize audio design. Made entirely of concrete, this stereo challenges traditional norms with its square, minimalist form. The choice of concrete not only provides the device with unique robustness but also enhances sound quality by reducing unwanted vibrations. With its bold design, the Concrete Stereo integrates art and technology, influencing industrial design and demonstrating how alternative materials can transform the audio industry. Accessions Committee fund purchase.
Designed in 2019, Yuri Suzuki's Arborhythm is not just an audio device but an interactive work of art that combines visual design and music elements. Arborhythm uses sensors and algorithms to transform environmental data, such as leaf movement, into sound, creating a unique and immersive auditory experience. This approach not only reflects Suzuki's commitment to blending design and technology but also explores new dimensions of listening, focusing on the interaction between the user and the surrounding environment. Acquired via exchange, thanks to a donation from Peggy Guggenheim.