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  • Bowie at Beeb: Best of BBC Radio 68-72

    • 10 out of 10
    • David Bowie
    • The companion CD to a BBC television concert, BBC Radio Theatre has some of the best renditions of many of Bowie's best songs throughout his career. "I'm Afraid of Americans" is substantial

  • Clap Your Hands Say Yeah

    • 8 out of 10
    • Clap Your Hands Say Yeah
    • When I first got hooked to Clap Your Hands Say Yeah, the only place I could get their debut album, Clap Your Hands Say Yeah, was through the band's Web site. I listened to the two tracks a

  • Never Let Me Down [ECD]

    • 4 out of 10
    • David Bowie
    • It must be a lonely place to be considered David Bowie's worst album by just about everyone, including the artist himself. As the last album before Bowie "rebooted" and formed the band Tin Machine, "N
  • Guero

    • 10 out of 10
    • Beck
    • Beck is the modern master of the groove, and Guero is merely the latest example of this. From the opening power chords of "E-Pro," to the Pac-Man cuteness of "Girl," to the dirge-like lullab

  • How to Dismantle an Atomic Bomb

    • 6 out of 10
    • U2
    • U2's latest entry is a mostly underwhelming collection of songs that does very little to sound any different from its equally pedestrian predecessor, 2000's "All That You Can't Leave Behind." While

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When the Music Stops for the RIAA

Many other people benefit from the creativity of humans who can create and play music, but when computers start making music that humans cannot, the game of musical chairs could find the RIAA odd man out, according to ars technica.

The first step in the process appears to be well underway. "... a significant advancement has taken place in the field of computer music with the development of software that can not only transcribe polyphonic music in real time, but can also play back complex harmonies alongside human performers. For instance, at the annual Music Information Retrieval Exchange (MIREX) competition, Christopher Raphael of Indiana University demonstrated a system that can understand live music well enough to accompany a musician," Jeremy Reimer reported.

The actions of a highly sophisticated program that can listen to, pick up on the rhythms of human players, and synthesize an accompaniment may be just the the first step for computers that will someday independently generate music.

"Technology is changing our sense of what music can be," Mr. Raphael said. "The effect is profound."

"Computer performers could handle new types of music with many more notes played at once than humans are capable of handling," Mr. Reimer said. "Disc Jockeys could have many more options for creating unique performances. And software could make learning an instrument faster and more enjoyable, as students could practice with a "real" orchestra again." All these technologies will fit together in a new realm of computer music that could ultimately change the rules of the music business.

If the day comes when all the really great music worth listening to is created by computer software available to everyone, an extreme extension of Apple’s Garage Band, technology will once again have changed the rules so radically that the days of the RIAA squabbling with and suing its customers will seem like ancient history.

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