While audiences at Broadway‘s “West Side Story” thrill to the on-stage drama, musicians in the orchestra pit are fighting a battle every bit as vicious as the Sharks-Jets rivalry.

This is gang warfare of a high-minded sort, pitting some of New York’s best live musicians against a synthesizer they fear will usurp the job of playing Leonard Bernstein‘s pulsating score.

Sophisticated synthesizers and computer-manipulated recordings are increasingly taking over orchestras. Sounding almost like real players, while costing much less, they’re especially popular with provincial or touring companies.

But until mid-July — when “West Side Story’s” producers announced that a synthesizer was replacing three live violinists and two cellists, or half the orchestra’s string section — staff violinist Paul Woodiel thought that at least the classics would be immune to the trend.

“It was the last straw for me,” Woodiel told AFP.

“I was a student and a friend of Leonard Bernstein and it’s almost certain he wouldn’t have allowed this. This isn’t dinner theater, it’s not Las Vegas. It’s Broadway and Leonard Bernstein was the greatest American musician.”

Woodiel’s own job was spared, but he caused a stir through the tight-knit Broadway world with a New York Times piece denouncing the “inert, artificial” synthesizer invasion.

The producers did not respond to AFP requests to be interviewed.

Synthesizers have in fact been around for decades, notably in pop music. What’s changing is the ability of the machines to enter the far more sophisticated domain of classical orchestras.

“The computer gives you so much more power now. There’s ridiculous stuff,” says Mike Levine, editor of Electronic Musician Magazine.

There are computer programs able to read and play back music scores — a boon to composers who can now hear their work as they write — and software allowing conductors to control the tempo of the machine, in the same way that they direct live players.

“It has gotten very, very good with something like drums and bass and strings,” Levine said. “With piano they can model almost anything.”

Levine said the growing use of synthesizers is positive for basement bands and other music industry start-ups, but a menace to jobs in large, labor-intensive ensembles like orchestras.

“It’s all about money and the producers want to make as much money as possible,” Levine said. “They always did.”

Critics see synthesizers as little better than some barbarian force trampling the classical music landscape.

But one virtual music pioneer, Paul Henry Smith of the Fauxharmonic Orchestra, says the technology will only improve and in any case cannot be stopped.

Smith’s system uses so-called digital sampling, feeding from a store of more than two million individual notes recorded in an almost endless variety of tones and styles. “It’s kind of insane,” he says.

“We don’t quite know what’s going to happen with this, but computer technology is just so malleable that the likelihood of it going away is probably nil.”

Like many new technologies, virtual music poses growing ethical questions.

New York Post arts writer Barbara Hoffman says using a synthesizer in “West Side Story” amounts to cheating theater-goers.

“When you pay over 100 dollars a ticket you should hear real music the way Leonard Bernstein intended it,” she said. “Something as sacred as that score, one of the most beautiful scores ever written — it’s blasphemous.”

But it remains unclear whether audiences around the country realize what’s going on, or necessarily care.

Sarah Franklin, a talented 24-year-old violinist, joined a five-month North America tour for a revival of the musical “Camelot” with an orchestra of just four people.

“There was me on the violin, one cello, one French horn and a conductor with a computer,” she said. The computer, using a software called Notion, played the rest of the semi-virtual orchestra.

Frequently the program crashed, abruptly leaving the three live musicians to play by themselves. But despite the glitches, most audience members were none the wiser, Franklin said.

“When people saw us down in the pit afterwards, they’d say, ‘It sounded like there were so many more of you!’”

The musicians would wriggle out of the embarrassing situation by pretending that the rest of their colleagues had quickly left the theater.

“We got fed up with explaining and we didn’t want to ruin it for them. They didn’t need to know,” Franklin said.

True aficionados can immediately tell the difference between real and manufactured music.

Woodiel compares playing alongside a synthesizer to “making love with a corpse.”

Even Smith readily concedes that today’s virtual instruments cannot match live string players “by a long shot.”

But advocates argue that axing salaried musicians in favor of a machine during today’s economic uncertainty can extend the life of a flagging production, thereby saving many other jobs.

Smith, who studied with Bernstein and researched digital sound at Massachusetts Institute of Technology, says the most important benefits are subtle.

He sees virtual orchestra programs as a new instrument in their own right, as well as a tool for composers to “get their ideas into sound” and bring new material to human orchestras — thereby creating work.

“It’s not always a bad boy,” Smith said. “It’s a branching out and expanding of possibilities.”

Peter Reit, who plays French horn in Broadway’s “Phantom of the Opera” — where two strings players have been replaced by a synthesizer — has a more gloomy prognosis in what he calls the “corporate” music landscape.

“You get the feeling that if they had their way, ideally, they would have an entire virtual orchestra,” he said.

“They would have all of us replaced with one electronic instrument, then feed that to the public and make more money.”

The Web has transformed and spread around music content – people can find music at Last.fm, iTunes, and YouTube, among dozens of other services. MySpace has become the epicenter of the music scene and the preferred platform for artist web pages, but it doesn’t bring together all of the platforms for music distribution available on the Web.

Yahoo’s relaunched Artist Pages, however, do just that. From one webpage, users have access to a dashboard filled with content related to their favorite artists. YouTube videos, the iTunes music store, Pandora, Last.fm, concert information, and Flickr photos are all available in one simple and clean interface.

It may not be as flashy or image-heavy as a MySpace Music page, but it certainly gives MySpace a run for its money in terms of functionality and customization, and Yahoo’s plans to open it up to third-parties makes it an even more appealing option to music artists.

The Yahoo Artist Page Interface

The interface bares no resemblance to the old Yahoo Music artist page or even the MySpace Music page. Instead, Yahoo seems to have opted for a cleaner, simpler interface that boxes up the key content.

The top links users to videos, discography, tracks, photos, or concert information, although all of that content is available from the start page. Concert information is viewable via a Yahoo Upcoming widget and vdeos are available in the center column, both from Yahoo and from YouTube, just for starters.

See the full article at Mashable.

Free entertainment hub Boxee keeps on getting better and better. A couple of hours ago, the venture-backed startup released a full API that allows developers to build applications for the open-source platform using a set of API calls in Python and writing the GUI using XML. At the same time, the company is laying the groundwork for a richer App Box, which it refers to as an open application store where they are not the gatekeeper (like Apple for its iPhone App Store) but rather a facilitator.

Heck, they’re even prepared to act as middleman for connecting freelance web developers with companies looking to leverage their API. Hard not to love that type of company.

Boxee is today also introducing a new test version of the Boxee alpha version for Mac and Apple TV (get it here for Intel Mac OS X 10.4+), adding two applications that were built using the brand new API. The new Boxee alpha comes with a lot of music goodness as it includes both Pandora, the popular music streaming service, and RadioTime, which enables their users to access over 100,000 traditional radio stations from across the globe.

This comes right off the heels of the introduction of a (basic) iPhone application.

See the full article at TechCrunch.

Startup Conduit Labs has launched Loudcrowd, a online community that integrates a virtual world with social gaming and music. Loudcrowd users can create their own virtual world with avatars and access music playlists while playing a series of music-themed games with friends. Loudcrowd is launching with 50 artists and over 250 songs featured on the platform, including music from the Indie rock bands Justice, Phoenix, Santigold, and Friendly Fires.

Loudcrowd wants to create the feel of an online concert or dance club for users. The site will feature social games that will be played simultaneously with music tracks as well as daily playlists from guest DJs. Loudcrowd’s feature Dance game is similar to the popular game Dance, Dance Revolution and is pretty innovative. Loudcrowd says that the dance game has been played more than one million times since they entered private beta, with over 25 percent of users visiting the site more than 100 times a month. The games are all built on Flash and the animation is disarmingly good.

See the full article at TechCrunch.

Virgil Griffith, a CalTech grad student did a study to see how SAT scores and music preferences correlated to each other. Obviously SAT scores aren’t a true measure of intelligence, and really not too much about this chart is overly scientific – yet it still remains interesting. [ed]Where did I put that Beethoven CD? [/ed]

See the full chart at Virgil’s site.

The music video is enjoying a newfound renaissance, thanks largely to YouTube.  Once upon a time, music videos were played on MTV, VH1, and BET, and that was that.  Now, music fans are calling the shots online, and the music video is arguably bigger than ever before in its history.

But how many views are we talking here?  Universal Music Group is the most viewed channel in the history of YouTube, with 3.4 billion views on a stock of more than 9,200 clips.  Sony Music and Hollywood Records own the second and third-place slots, respectively, and ChrisBrownTV, JonasBrothersMusic, RCARecords, and even michaeljackson are not far behind.

Suddenly, the brouhaha between Warner Music Group and YouTube makes more sense.  People love music, and even a diversified site like YouTube draws serious traffic from music-related clips.  But take a look at MySpace Music, and something interesting emerges.  Because it turns out that listening levels on MySpace Music eclipse comparable viewing levels on YouTube, often by a factor of 7-to-1.

Full story at DigitalNews

MySpace Music features virtually every band in existence, yet it also features a cluttered interface, bottom-scraping CPMs, and an uncertain monetization path. Sound like a site worth heading? A number of prominent executives turned the offer down, based on a confusing success path, divisional reporting structure, and other negatives.

But ex-MTV and Interscope executive Courtney Holt accepted, and is now sinking his teeth into a tough challenge. So, can this site win? The challenge is undoubtedly difficult, though during a keynote interview at EconMusic in Los Angeles on Thursday, Holt displayed ample amounts of acumen and surprising levels of candor.

For example, why is the MySpace Music interface so cluttered and confusing? On that question, Holt admitted to layout-related issues. At a top level, MySpace Music revolves around four components: the user page, artist page, front door, and search. “Each one of them is somewhat of a cul-de-sac, you [follow] what you’re looking for and then you’re stuck,” Holt shared. “If I find an artist then I have two options: out or back, and that’s not a good user experience. But we have all of this great data,” Holt continued.

And data, according to Holt, is a critical part of the strategy moving forward. That includes the ability to understand who is listening to what, and how those listening experiences are connected to other bands and friends. That information opens the possibilities, and theoretically allows MySpace Music to tighten connections with fans and bands. “My goal is not only to provide that data back to the consumer, but also back to the artist.”

For the full story Digital News

For some reason, rhythms I produce by nervously tapping my fingers do not translate well to musical instruments. However, this “Jam” concept could help fidgety individuals like myself become musical virtuosos.

A central hub wirelessly links the Jam finger taps together allowing one, or several people to play sound clips by tapping their fingers on a solid surface. The harder you tap, the louder the volume. You could even change the pitch by dragging your finger along the playing surface. Unfortunately, Jam is only a concept at the moment, so it looks as though I will have to stick with some finger drums to express my deep feelings and thoughts musically. [Yanko]

See the original article at Gizmodo