A significant amount of previous academic research into popular music museums centres on critiques of the content, design and layout of predominantly authorised institutions. Throughout much of this research, authors consistently criticise the use, or rather, the perceived misuse, of music played within music museums, arguing that the music itself, rather than artefacts, constitutes the most significant part of popular music exhibition. This article seeks to counter this trend by exploring the challenges of incorporating recorded sound into popular music exhibits as understood by curators and exhibit designers. Utilising interviews conducted within 14 authorised and DIY museums devoted to popular music, the researchers demonstrate a distinct contrast between current academic critiques of music use in these museums and the attitudes of the people who create them. The result is a varied discussion surrounding sound in the museal space, including issues of sound bleed, technology and the creation of balance between artefacts and sound. This account draws attention to curators’ intentions of telling the story of popular music history by engaging with both the visual and aural memories of museum patrons, and suggests a new understanding of the purpose underpinning popular music museums in modern contexts.
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