Audio on Web: From Sharing to Production

Stolfi A, Figueiró C. Audio on Web: From Sharing to Production. J Audio Eng Soc. 2025;73(12):837-848. doi:10.17743/jaes.2022.0251

@article{Stolfi2025_23112,
  author = {Stolfi, Ariane and Figueiró, Cristiano},
  title = {{Audio on Web: From Sharing to Production}},
  journal = {Journal of the Audio Engineering Society},
  volume = {73},
  number = {12},
  pages = {837--848},
  year = {2025},
  month = dec,
  publisher = {Audio Engineering Society},
  doi = {10.17743/jaes.2022.0251},
  url = {https://doi.org/10.17743/jaes.2022.0251}
}

TY  - JOUR
TI  - Audio on Web: From Sharing to Production
AU  - Stolfi, Ariane
AU  - Figueiró, Cristiano
T2  - Journal of the Audio Engineering Society
J2  - J. Audio Eng. Soc.
VL  - 73
IS  - 12
SP  - 837
EP  - 848
PY  - 2025
DA  - 2025/12/16
DO  - 10.17743/jaes.2022.0251
UR  - https://doi.org/10.17743/jaes.2022.0251
PB  - Audio Engineering Society
LA  - en
AB  - The rapid evolution of web technologies has fundamentally transformed the creation, distribution, and experience of audio and music. This paper explores the historical trajectory and current state of audio on the web, from early peer-to-peer file sharing (e.g., Napster) to modern browser-based tools that democratize music production and performance. Key technological milestones are examined, including the transition from proprietary plug-ins (Flash) to open standards (Hypertext Markup Language 5, Web Audio API), and the rise of JavaScript libraries (Tone.js, Magenta.js) that collaborate to sophisticated audio processing and generative music directly in the browser. The paper traces a brief history of audio on the web, from early music distribution systems to modern browser-based production environments. It highlights emerging paradigms, such as live coding, collaborative digital audio workstations and artificial intelligence–driven composition, which redefine creativity as a collective, networked practice. By analyzing these developments, the dual role of the web as both a technical infrastructure and a cultural platform is revealed, fostering new forms of artistic expression while challenging traditional boundaries of ownership, accessibility, and interaction. Finally, the authors discuss ongoing tensions between open-source ecosystems and proprietary solutions and speculate on future directions for web-based audio, including immersive environments and decentralized collaboration.
ER  -