Firstly, the term 'technology' doesn't just refer to modern, electronic technology; it refers to basically any implement which needs some form of engineering. For example, an acoustic piano is absolutely technology - it is a very complicated device (and the price of one absolutely reflects that!). It could only be constructed once Europeans were at a certain level of engineering skill, a certain level of technical mathematical understanding of music, etc. Similarly, a drum - a piece of skin stretched over a hollowed gourd or a hollowed tree trunk or something, and then pounded for rhythm - is also technology.

So at the level of "how did people listen to music before technology" where we use the word "technology" technically accurately, we simply don't know; we're back in prehistory.

However, you probably did mean "the kind of modern technology that requires batteries/an electric grid". In which case, yes, Edison's phonograph and its competitors profoundly changed the way that people listened to music. Even the wording of your question points to how profound a change that was; before the turn of the 20th century, the only way to hear music was to be in the vicinity of someone making it. A whole infrastructure developed around making reverberant, sonically rich spaces where purely acoustic instruments and voices could be heard loudly enough by large audiences - opera houses and concert halls, in other words. Particular musical styles developed in order to sound good in these kinds of spaces; opera singers sound the way they do, partly, because they're trained to sing in ways that exploit the acoustics of such spaces, and which can be heard over musical accompaniment. In particular, with opera singers, there is the 'singer's formant', a particular set of sonic frequencies which are not usually emitted by human singers when singing, but which opera singers regularly do emit.

But most music listening across history has been on smaller scales, in smaller groups, and has likely been, to some extent, participatory. People from many cultures sing as they work together, while folk song traditions show a lot of songs with choruses that are literally choruses - where everybody is meant to be singing along. It was implicit in the folk movement of the 20th century that the rise of technology had taken away this participatory angle of folk music; the folk singer Pete Seeger had always been grumpy about the Newport Folk Festival for its model of having a singer on a stage, heavily amplified, playing to a large audience; he wanted less of a barrier between artist and audience, because he came from a folk tradition where music belonged to all.