Music games Rock Band and Guitar Hero are simple enough in terms of gameplay, but testifying to the power of people’s passion for music, their impact has been staggering. At a time when purchasing recorded music has waned from a 90s peak, downloads for games are proving surprising growth, despite pundits predicting the segment would cool off. The talents of the Harmonix team attracted the collaboration of the download-averse surviving Beatles and family members. But most importantly, the popularity of these games has translated into renewed interest in learning to play real instruments. It’s no accident popular music chart sales are surging, or that you will now find a new selection of digital and acoustic (but serious) instruments at your local Best Buy, often located right next to the games section. (Even as a witness to this trend, I was surprised recently to pick up an extra KORG nanoKONTROL in the aisle next to Rock Band.) Heck, even sales of music notation software are growing.

I’m uncertain of the extent to which a game like Rock Band can be identified as the cause of these trends, but there’s no question that popular music making is on the rise, and games are part of the shift. Perhaps it’s a matter of games changing the way people feel about making music. After all, a lot of early music training is very much like a game: to learn a new instrument, you simplify the playing of that instrument into more basic exercises. Obviously, that helps develop chops, but it also boosts confidence, giving a music student a feel for what it’s like to play successfully. (And, let’s face it, even experienced pro players sometimes need to defeat anxiety.)

The dark side of all of this has been that the music itself has been limited to a narrow selection of top-of-the-charts hits and popular classic tracks. Rock Band Network doesn’t yet address the limited instrumentation (guitar, bass, drums, voice), but it does open production to a new range of artists – and that, in turn, could be the beginning of much more to come. By allowing anyone to author and distribute tracks for a nominal subscription fee on Microsoft’s Xbox creation community, Rock Band Network is all about opening floodgates.

Having followed the story here on CDM since last year, I’m thrilled that the Rock Band Network store itself is now live. The results run the gamut from relatively big-name artists to more obscure contributions. (Phone giant T-Mobile will pony up some cash to highlight an “Artist of the Month” from the community, in the interest of shining a spotlight on lesser-known acts.) The only bad news is, while the store is international, the Rock Band Network isn’t immune from the music industry’s trouble crossing national borders; as our own Jaymis discovered to his dismay, countries like Australia are left out. I hope to talk to Harmonix and Microsoft about how they plan to make these kinds of efforts more global with time.

Games really are reshaping music. Despite their relatively simple gameplay, the Guitar Hero and Rock Band franchises originated by developer Harmonix are stimulating interest in real music making. It’s no accident that you can walk into a Best Buy and, next to aisles of video games, find a growing selection of serious musical instruments and technology.

These titles are also stimulating interest in music and artists and producing a new distribution outlet, at a time when the distribution picture for music can seem bleak. But until now, that outlet has been limited to big acts, big tracks, and big deals with big labels. It has only promoted music you already know, not the discovery of new music. Rock Band Network could change all that.

We took a detailed look in August at how Rock Band Network worked technically, and how authoring a song for RBN could give you the same level of gameplay and choreographed graphics that the official Rock Band tracks get. But now here’s the big news: at long last, RBN is opening to the general public, starting with an open beta for artists and play-testers.

What it is: Rock Band Network is a new set of authoring tools (built around Reaper), a submission process (built around Microsoft’s Xbox 360 XNA Ceators Club), and an upcoming store to host indie tracks called the Rock Band Network Music Store.

What it costs: Rock Band Network membership is free, but you’ll need a $99/year XNA Creators’ Club Premium account to submit or test music.

Critics frequently attach the phrase “lock-in” to Apple’s iTunes Store – iTunes – iPod/iPhone combination. But, in the post-DRM age, what does that mean, exactly?

First, you have to recall that while for many of us the manual drag-and-drop music management is appealing, it isn’t so for many average consumers. They want sync. That means that music will be stored in iTunes and synced to Apple devices and nothing else. Apple is serious about locking you to their store and their devices, enough so that they frequently update their software with special keys that prevent the use of devices. iTunes is “free,” but Apple determines which mobile devices you can use and which you can’t. And Apple has gone after anyone who dares give you the ability to use your own music software or own devices, including efforts (ironically) to make their iPhone and iPod work with Linux and open source players.

These efforts don’t protect the music or prevent privacy – they protect users of Apple’s software and mobile devices from using anything but Apple’s tools. Yet Apple has used the Digital Millenium Copyright Act to take legal action over anyone who dares to even talk about how to use legally-purchased music and hardware:

OdioWorks v Apple

Perhaps suspecting their case was too thin to defend, Apple eventually backed off that particular claim — after, says the Electronic Frontier Foundation, “7 months of censorship and a lawsuit.”

Apple Withdraws Threats Against Wiki Site

But the software and hardware locks are unchanged. And Apple has won, in my view, an even more important battle: they have a monopoly over mindshare.

Mint.com, the online financial management tool, has put its numbers together with market researchers NPD Group to analyze music spending. The results: when it comes to consuming recorded music, digital music continues to rise. At the same time, so does Apple’s grip on the music consumption market, a combination that includes proprietary control of a music store, a music player, and the leading mobile device.

Rounding up my catch-up-on-iPod/iPhone-stories, here’s one from the developer perspective – one that could face music creation developers on the entire platform.

The Apple iTunes App Store now faces the risk of becoming a victim of its own success. Music applications could be a big part of that, without some adjustments on Apple’s part. The problem is this: incoming music “fan” apps could flood out the music production apps that had enriched the mobile software platform since its debut. I think the need could be really urgent. Consider that part of the appeal of Apple’s mobile platform – yes, even in stark contrast to the Google Android on which I’ve been developing myself – is its spectacular real-time audio tools. Combine that with a disproportionately large number of Mac-using musicians, lots of ingenious apps build on Apple’s Core Audio platform, and we’ve seen a mobile platform with an extraordinary number of tools for music creation.

The problem now is that that unique set of powerful apps could get overwhelmed by essentially unrelated “music” apps. A developer who has asked to remain anonymous is already campaigning for a change. He does a good job of explaining the issue, and what might need to happen to fix it. If you’re a developer, you can add your support and feedback to the idea.

Here’s the full explanation: