In what some call the “post PC” world, the lack of a needed PC is interesting here. A companion app found in the Google Play store moves music from smartphone to Muse over an included micro USB cable and manages the 4 GB of internal storage inside the digital audio player. With the Muse Sync app, you can sync by artist, album or playlist from your smartphone. The setup of getting music on the Muse without a PC shows another move away from full-blown computing platforms for what’s typically a core activity today.

Why even offer a companion MP3 player when any of the supported smartphones work perfectly fine for music? The Muse is intended for those who want to exercise while listening to music but don’t want to do so with a phone. I can personally relate as I’ve run nearly 1,500 miles since 2011 mostly when carrying a smartphone.

The bulk of those miles were with a Galaxy Nexus, but now that I use a Galaxy Note 2 with 5.5-inch display, I wouldn’t even think of running with my phone. I have solid alternatives already for tunes on the run, but if I didn’t, I’d probably drop the $50 for a Muse right away.

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Conceptually, the idea makes sense. When you need the sound boost, you extend the bottom of the case, creating an accoustic channel to boost both sound levels and the microphone input. Think of it as passive noise-cancellation on one hand and compressing or aiming sound waves for richer and louder audio. Here’s how it works and what it looks like:

The AudioGlove project only has around $8,400 of its $30,000 funding goal, but you have until Sept. 4 to get in on the action. As little as $20 gets you an AudioGlove case while $45 includes an aluminum stand for an AudioGlove-protected iPhone.

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DoubleTwist, a popular free media play application for Android, has improved its software to include over-the-air podcast subscriptions. The new feature is available as part of the DoubleTwist Pro in-app upgrade, a $4.99 fee that also adds AirPlay support, wireless media synchronization from a PC or Mac, and other functions.

I’ve long used DoubleTwist on my Android phones and tablets for a number of reasons. The software easily syncs media from an iTunes or other media library, although it will play DRM-free content. As a media player, it has all of the functions most users are looking for and it even imports song ratings from iTunes, as well as playlists and play counts. About the only thing missing was support for podcast subscriptions, which are now in the new release.

The Podcast section is clean and offers a wide variety of content, all categorized by channel. As in past updates for other media types, DoubleTwist cuts the computer cord with its new Podcast support. You can directly subscribe to a show on your handset and the app will pull down the latest episodes using the handset’s connection. There’s a settings option to only download new podcast episodes over Wi-Fi so you don’t have to worry about using up your cellular data plan.

Some may feel that a $4.99 upgrade to get podcast support is steep. I’d agree if that’s all the in-app purchase added. But it brings more features into the mix as well: a multi-band equalizer, high-resolution album art downloads for any missing images, Wi-Fi media synchronization and, perhaps my favorite feature; AirPlay.

I’ve demonstrated AirPlay in the past, which alone was a $4.99 purchase in the DoubleTwist AirSync app. Using it, you can wirelessly send audio or video to an AppleTV, a Sony PlayStation 3 or an Xbox 360. Here’s a look at content streaming from a Samsung Galaxy Tab to my HDTV using the app:

DoubleTwist is available in the Android Market for devices running Android 2.2 and up; Android 4.0 users will gain the ability to control media directly from the lock screen in this version. If you don’t already have DoubleTwist installed, I highly recommend trying the free version. More than 49,000 of the 73,823 people rating the app in the Android Market gave it five stars for a reason.

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In what is likely his final interview before leaving Warner Music, Bronfman defended Spotify’s ability to drive more value for artists and labels. “Everywhere we look, Spotify is incrementally positive,” Bronfman said. Later in the discussion he noted that the streaming music startup is “a real and growing revenue stream.”

That said, Bronfman noted that part of the success comes from a deal that Warner Music helped to negotiate that passed on more value to labels and artists. “They have Warner Music to thank for a much better economic deal. We insisted on a much stronger deal and refused to sign unless we got that deal,” he said.

In addition to adding additional incremental revenue to the music industry, Bronfman said that Spotify’s model also provides longer-lasting value than some of the other offerings on the market, because consumers access music for longer periods of time than during the usual sales cycle.

“It’s important to note that [Spotify] has a much longer shelf life than downloads,” he said. “In Spotify, a song can live in the streaming world for a long time.”

Bronfman was not as keen on other platforms for distributing music. For instance, unlike all the other major labels, Warner Music doesn’t participate in streaming video service Vevo. “We have a fundamentally different strategy,” Bronfman said. “Vevo aggregates artist content and accrues that value to something called Vevo… We aggregate our content and accrue that value to our artists.”

As for Google Music, which Warner Music also doesn’t participate in, Bronfman said, “Google has to decide if it wants to have a content platform and if it wants to have a platform that’s competitive with other content platforms.”

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Rhapsody previously bought Napster’s U.S. business and subsequently laid off pretty much everyone, but its plans for Europe are looking a little different. All employees will keep their job, according to a press release, and they won’t even have to get new business cards: The service will continue to be called Napster in both countries, but subscribers will be migrated to Rhapsody’s infrastructure (and presumably will have to download the company’s client) in March. The pricing of the service will stay the same in both countries as well.

The question is: Will the Napster brand help Rhapsody to take on Spotify, which has been dominating the music subscription business in Europe? Spotify is already the biggest subscription service in the U.K., where Napster is currently holding the number two spot. Spotify hasn’t launched in Germany yet, even though there are rumors such a launch is imminent. Napster is believed to have a 70-percent market share in that country and is competing with smaller players like the Cologne-based streaming service Simfy.

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Ecoute

Ecoute (French for “listen”) is aimed at being a minimalistic standalone player that syncs with iTunes. It’s been around the longest of the players listed here, having recently reached version 3.

The best way to describe how Ecoute looks is to imagine what the iPhone’s music app would like if it were ported to OS X. Navigation is done through lists, with album art on the left side to make it easier to distinguish between entries. There’s a breadcrumb navigation bar at the top, so it’s easy to get around.

Ecoute has a lot of nice touches. The Dock icon displays the currently playing album artwork, global keyboard shortcuts allow you to control playback in the background, and the controller (which can be customized with available themes) can display the current album artwork on the desktop. You can also share the current track on Facebook, Twitter, and Last.fm.

Ecoute is available in the Mac App Store for $8.

Enqueue

Enqueue’s name comes from one of its main features: a queue in the sidebar that acts as a temporary playlist. You can drag songs and albums into the queue and listen to them in order, making it easier to plan and enjoy long listening sessions. Enqueue also has a mini player view available that just shows the queue alongside controls. Being able to see the queue makes it a lot more useful than iTunes’ mini player.

The rest of Enqueue’s interface is more traditional than the others in this list, but that doesn’t make it less useful. There are four tabs at the top for your library, playlists, history, and preferences. The library tab adopts a staid browser layout, with filter columns at the top and results below. I don’t much care for this configuration, so I was happy to see I could change it in the view menu to display just a list of artists on the left and results on the right.

The history tab displays your most played artists or songs and how they relate to each other using a bar graph, which is unique among the apps in this list. Further features include iTunes sync, Last.fm scrobbing, and configurable global shortcut keys.

Enqueue is available in the Mac App Store for $10.

Sonora

Sonora (Spanish for “sound”) has a straightforward interface with a lot of power buried beneath. The toolbar houses the controls for play, pause, shuffle and the like. The middle of the toolbar is occupied by the queue, an area where you can drag albums or songs from different artists to make a temporary playlist, similar to Enqueue’s. By default, the queue will be populated by songs from the currently playing album, which makes it easy to skip to a different song while browsing music as well. A sidebar along the left lists all artists, and the main browser shows album artwork arranged alphabetically by artist, like iTunes.

The most interesting feature of Sonora is the ability to type anywhere in the app to bring up a search box, which works a little like Alfred. Type the name of an album, hit enter, and it starts playing. It’s slick, but hard to discover initially.

Unlike the other apps listed, Sonora is still in beta, so be warned you might run into a bug or two. It’s available from the developer’s website for free for the time being.

Rdio

Rdio is unique among this group in that it streams music rather than playing downloaded files. This allows for a much broader selection of music, as anything in Rdio’s vast catalogue is available to stream. Instant access to new releases and recommendations is also a plus for Rdio. The downsides, of course, are the requirement of a network connection and the lack of more obscure artists.

The Rdio app itself is basically a wrapper around a web app, though most people wouldn’t notice. The load times are fast; I’ve never had to wait long for a song to buffer, and the UI loads quickly as well.

Rdio also has social features built-in. Other users can follow you and see what you’re listening to, and you can share your activity to Facebook, Last.fm, and Twitter.

Rdio is available for free, with a variable song cap (basically, the more you use the service, the lower the cap becomes). Unlimited desktop and web access is $5 a month, and unlimited web and mobile access costs $10/month.

Note: A competitor to Rdio, Spotify, is also quite popular. The reason I’m not covering it fully is because I think the Rdio app is better, though it still deserves a mention.

Vox

Vox is different from the other apps mentioned. Instead of choosing music from within the app, you choose it from the Finder. This behavior goes back to the early days of music players, when you chose music from the file manager instead of within the app itself.

The UI consists of several palettes rather than one unified window. The palettes can be hidden or shown with simple Cmd-number shortcuts, i.e. Cmd-1 to bring up the player, Cmd-2 to bring up the equalizer. The advantage of this kind of design is that it’s easy to show and hide what’s necessary. Of course, the downside is that it’s a little harder to use.

Vox has a large list of supported file types, including FLAC, OGG Vorbis, and Apple Lossless. There’s also an export feature, which can convert every file type it supports into a good selection of formats, including AAC and WAV. It can even apply effects to the exported version.

There’s also a menu bar entry for Vox, which lets you easily pause, skip, and choose a new song. Vox is available at the developer’s website for free.

Are you sticking to iTunes for listening to music, or have you switched to a different app to fulfill that need? Let us know about your favorite in the comments.

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The Antik is a nano-shaped quartz time-keeper that comes in one of five distinct flavors. The idea is that you can use your nano-compatible watch bands without the iPod, should you like the design of the wrist-mounts but not the downsides of limited battery life and screens that require a button-press to read. The Antik is cheaper than a nano, too, at $69.95.

I was initially hoping the Antik would work in all my iPod nano watch band accessories, especially the Deckster, but alas. the protective glass covering the watch face protrudes a bit farther on the Antik than it does on the iPod. Likely that won’t be a problem for a lot of accessories, but the only bands it’s guaranteed to work with are the TikTok, LunaTik and LYNK models made by Minimal. Since those are some of the best nano watch bands available, that’s really only a small flaw.

The Antik has no date; features a simple, two-hand design, with a nice cut-out effect for the numbering; and is water-resistant to 30 meters, which is definitely not true of your nano. The designs for the shipping product were chosen by Minimal shoppers, and come in both black and silver finishes to match your band of choice. The black is real black, too, unlike the finish on Apple’s graphite nano, so it’ll better match black wristbands.

All the face designs are better looking than the virtual ones provided by Apple on the nano, in my opinion. And while the idea of wearing an iPod as a watch is still likely to be the primary factor driving nano watch band accessory sales, the idea of a relatively cheap, modular watch face and case system definitely means Minimal’s LunaTik brand has legs to outlast Apple’s notoriously mercurial design tastes when it comes to its iPods.

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The new iBooks interactive textbooks, which come from major educational publishers like McGraw-Hill and Pearson, among others, were unveiled last week at an Apple media event in New York City. The textbooks were the primary focus of the event, which also saw the introduction of iBooks Author, an e-book creation tool, and an iTunes U-dedicated iOS application. iBooks Author saw 90,000 downloads in the three days following its introduction, Global Equities Research said, but it didn’t share numbers for iTunes U.

That Apple would see 350,000 downloads of its iBooks textbooks immediately following their unveiling is not surprising, especially given that the store offers free samples, as well as one of its highlighted books free in its entirety. Curiosity, media interest and a desire to check out something new from Apple’s digital storefront would definitely all contribute to heightened interest.

The real test, however, will be whether or not Apple’s textbooks can keep up their momentum long-term. AllThingsD’s John Paczkowski points out that publishers are counting on higher volume sales at lower prices to make selling digital textbooks at $15 more profitable than selling paper versions at $75. But getting schools and parents to buy into a system in which books can’t be passed on from student to student, and which could potentially be paid for directly by parents themselves won’t be a simple matter. Not to mention that iPads are required to make the system work, which obviously represents a considerable expense in itself.

Over at ZDNet, James Kendrick has a good round-up of the arguments against Apple’s textbook initiative succeeding. He lists a lot of good points, but overall you get the sense that the biggest problem might just be a lot of hesitation from schools about adopting a model so different from what’s currently in place. Institutional inertia is not easily overcome, after all.

Three hundred fifty thousand digital textbooks downloaded in three days is definitely impressive, and could bode well for Apple’s textbooks initiative; people are obviously interested, and that’s a good thing. But the real test is yet to come. Download numbers following the kick-off of the school year next fall will definitely be a better time to make prognostications about the success or failure of Apple’s latest venture.

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Most students and educators who’ve been in school in the past 10 years have probably run across Blackboard, or some similar system for managing courses online in an interactive digital environment. Generally speaking, those systems are lacking in a lot of ways: navigating them can be difficult for new users; the same content can easily be filed in multiple places, leading to confusion; they usually aren’t engaging or attractive in terms of visual design.

Apple’s iTunes U addresses all those problems. It uses a UI that mimics the real world, which some people say is the wrong approach, but should help students and education professionals who grew up using traditional tools transition to digital methods. iTunes U also organizes things organically and according to common-sense logic, which should provide a greater uniformity of experience regardless of who’s putting together the course package. Finally, like all Apple products, it invites touch and interaction. There’s actually something satisfying about tapping off tasks and assignments listed in each course package.

The courses in iTunes U work on a subscription model, so you’re automatically kept up-to-date as a course proceeds. The course catalog makes it easy to find what you’re looking for, with specific sections for post-secondary education, programs from outside universities and colleges, and K-12-targeted material. Like Apple’s other digital marketplaces, it also provides highlighted courses chosen by Apple’s team, as well top charts and categories.

From the perspective of someone who’s designed a course syllabus and planned a class of study, this definitely seems like a great tool for educators. You can lay out exactly the course of action students need to take, complete with videos, slides and assignments listed as items in a list, where you can access them directly. It not only makes it easier for students to follow an instructor’s thinking, but should also help instructors better plan, organize and imrpove their courses.

If there’s one major downside to the iTunes U app, it’s that it’s most definitely exclusionary; students need an iPad, iPod touch or iPhone to take full advantage. Obviously, that’s Apple’s goal: to attract more users by providing appealing software experiences, and I definitely think it’ll succeed based on what I’ve seen so far.

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