Drawing from the concept of remediation (Bolter & Grusin, 1999), this article maps out the proto-digital and digital history of library music with a focus on music of the 1960s and 1970s, a period known as its ‘Golden Age’. The authors interrogate how recorded music libraries materially reinvented themselves – or were re-mediated – through the decades. The first part of this article surveys prevailing industrial practices and discourses of the 1960s and 1970s, arguing that library music firms embraced possibilities offered by digitisation from the outset, contrary to prevalent industry practice. The second part engages with ‘Golden Age’ library music’s online life and reinventions. By paying broader attention to its reception and transformation by fans, collectors, and creative practitioners, we resituate library music practices within a longer techno-cultural continuum from proto-digital to digital. We argue that the remediation approach helps theorise these myriad lives of library music across extended spatiotemporal eras. Remediation is not a linear reading of musical and technological history; rather, it acknowledges the synchronicities and porosities that exist between old and new by emphasising the moments of return and repetition central to the genesis of library music and to our affective experience of it.
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