>Think it's 2040, singularity reached. AI runs the world and on HN we have this article popping up very frequently like every hundred Planck time unit.
One argument I can see in principle for 24/192+ sound (not music) recordings would be if someone was a serious transhumanist and honestly did anticipate that some humans will move beyond baseline human sensory limitations in the foreseeable future (by 2040 would certainly count). Combine that with the sort of incredible environmental destruction we're seeing right now, with enormous numbers of species going extinct, forests being destroyed, insect/bird levels plummeting/moving even if they aren't going extinct entirely, etc. It doesn't seem entirely unreasonable to imagine that in 2040 somebody with genetically enhanced or bionic ears who really could hear ultrasonics (and had grown up with that, so their brain had developed from the start with that input) would find themselves not being able to ever hear "what it was really like" back in the 2010s even for a simple walk in the woods. If they had been here in person they'd be able to hear all sorts of things, but our standard recordings wouldn't have any of that, and in that time the whole character of forests may be different forever ala the silent spring. It's similar I think to one of the obvious guiding principles of modern archaeology, which is to try to disturb as little as possible precisely because we recognize there will be superior tools and sensors in the future which could pick up things we can't right now. Saving as much raw data as feasible in many experiments is also like that, even if we can't process it all now decades down the line new insights might be found.
None of that has anything to do with music which is a subjective human artistic creation. Even though instruments give off sounds beyond our perception, by definition we aren't taking those sounds into account in the creative process. Future transhumans would undoubtedly create transhumanist art taking full advantage of any enhanced senses, but that wouldn't apply retroactively.
True, except that few microphones provide a useful signal over 20kHz, and in the case of produced music, that segment of the signal was never heard or "signed off" by the original artists/engineers and therefore can't be considered part of the artist's intent.