Over the past ten years, the resources for learning music have evolved profoundly, driven by the global exchange of music on the one hand and the formalization of musical knowledge on the other. These two sides work for a real transformation of musical learning encouraging self-daxie as well as variety and aesthetic hybridization. This article seeks to shed light on this new learning environment, maintaining at the same time the point of view of uses (access to information, pedagogical experience, creation) and that of the technical substrate (extraction, formalisation and automatic processing of musical knowledge). Our approach is one of critical thinking, which encourages individuation and creative emancipation in the face of technological standardisation and economic logic. In particular, we refer to the notion of associated environments put forward by Gilbert Simondon [12] and Bernard Stiegler [13, 17, 18].