Meanwhile, Microsoft’s Zune announced via press release that new players in different capacities and colors would be available this week, along with a software update.

Despite their different approaches, these two announcements shared a notable common thread: integrated music discovery. Each company’s new software features ways for users to find automatically generated suggestions of music they might like, the way Pandora Media Inc.’s popular personalized music lists do. Of course, music discovery also encourages users to buy more.

Apple’s new iPods include a thinner Nano with an accelerometer, which senses the direction a screen is being held in a user’s hands and flips the display horizontally or vertically. These Nanos come in eight- or 16-gigabyte versions for $149 or $199 and are available in nine bright colors. A new, thinner iPod Touch with a built-in speaker was also unveiled, and it comes in eight-, 16- or 32-gigabyte versions for $229, $299 or $399.

Microsoft’s two new Zune players come in 16- and 120-gigabyte capacities for $200 and $250, respectively. All Zunes have built-in FM tuners and wireless capability, but the new upgrade allows users to buy and download songs they hear on their Zunes’ radios via Wi-Fi, when available.

While Apple’s iPod has been a snowballing success for the company, its companion iTunes software is no slouch. To date, 65 million iTunes store accounts with associated credit cards have been set up on Macs and Windows PCs. But iTunes has always been weak on music discovery and community.

Apple (AAPL) calls iTunes 8’s ability to make smart music recommendations the “Genius” feature. The tool can automatically do two things after analyzing a selected song from your music library. First, it can generate a playlist of songs from tunes you own. Second, it can generate a list of songs you don’t own but might want to buy from the iTunes store.

MicrosoftZune’s Mixview feature displays content related to an artist with an explanation of the relationship.

Microsoft’s Zune software discovers and recommends music using categories called “Picks,” “Channels” and “Mixview.” The last of the three, Mixview, generates recommendations for other musicians and albums, as well as other Zune users with whom you might like to connect. The suggestions are based on the artist of the song you’re playing and are displayed in an interactive graphic that explains how each is linked — for instance, if your artist was influenced by a band or if a member of Zune’s social network is a top listener of the artist you’re playing.

After using the music-discovery software from Apple and Microsoft (MSFT), I felt like Apple’s Genius tool still had a lot to learn, though the company says it will improve over time as more people start using it. Zune’s software had some similar issues, but it offered recommendations in a richer, more engaging manner, encouraging me to keep digging around and learn more about my music. Though I didn’t happen to have as much time to use Zune’s software as I did Apple’s Genius, I got more out of my Zune experience.

Apple offers much more content at its iTunes store than Zune. In all categories, iTunes takes the lead: in songs, 8.5 million songs to Zune’s 4 million; in music videos, 10,000 versus 8,500; in television episodes, 30,000 versus 3,000; and in audio and video podcasts, 125,000 versus 6,000.

To analyze and learn from your music, Apple scans the contents of your music library, which may raise privacy concerns for some people. Apple says that the information it collects is completely anonymous, and that it does not and will not associate this information on its servers with you or your account.

Some of my Genius playlists were well-crafted, including songs that meshed well with one another. But outliers cropped up, such as when “Should I Stay or Should I Go” by the Clash was stuck in the middle of a list generated from Coldplay’s gentler ballad, “Green Eyes.” Some songs won’t generate playlists if you don’t have enough related songs in your library; this happened to me with the pop hit “Apologize” by Timbaland, featuring OneRepublic.

Songs from artists whose content isn’t sold in iTunes, such as The Beatles, won’t generate Genius lists, because Genius makes suggestions based only on what it sells in its iTunes catalog. Genius will soon work with songs beyond those sold in iTunes.

Genius has a bigger problem. If you hit “Play” in iTunes, a Genius sidebar appears to offer content related to a selected song. But as play continues, Genius doesn’t continuously generate new recommendations; instead, it’s stuck on the very first song that was selected — which you might have chosen two hours ago. This means music discovery must be a manual process, rather than an as-you-listen convenience.

Genius playlists can be made on a computer or iPod and sync back and forth. I synced Genius lists on two iPod touches, but this didn’t work in one test with an iPhone. Apple said it couldn’t replicate this problem and hadn’t had other reports of it.

Zune software never scans your music collection. Instead, it knows only the number of times you played a song and how you may have rated a song.

Zune’s Mixview adds a real zing to the discovery process. It is a kaleidoscope-like graphic that appears on the screen when a song, artist, album or friend’s Zune Card is selected. The selected item is surrounded by eight to 10 floating squares filled with graphics and text, each holding a related song, album, artist or graphic representation of a Zune listener who’s considered an “expert” on the selection.

Each of these related squares includes a line of text explaining its relationship to the center item. For example, as I played “(I Can’t Get No) Satisfaction” by the Rolling Stones, Cyril Davies appeared as a related artist; an image of Arthur Alexander appeared as an influencer of the Stones; a Zune community member with the tag “Rreynoso” appeared as the top listener for the band and other Stones albums were displayed.

Mixview changes as you explore it. When one of its recommendations is selected, a new Mixview is created around that selection, encouraging discovery. But Mixview has the same problem as Apple’s Genius: When one song ends and another begins, the Mixview graphic doesn’t automatically change; you must manually start Mixview for a new song. Zune says it doesn’t want to change the graphic in case a user is in mid-exploration.

Unlike Genius, Mixview shows songs and artists beyond what Zune sells online. But the company says Mixview does “favor” Zune content, and Zune Picks are limited to items sold by Zune.

Zune Picks and Channels are more passive ways of discovering music: Picks are generated for you in Zune Marketplace according to your listening habits. Zune Channels bring collections of music to Zune devices and software, but these are useful only for Zune Pass members who pay $15 monthly.

Apple’s Genius is a helpful tool when it comes to quickly making a playlist, and its iTunes sidebar might reveal fresh related content. But the Zune software truly allows people to discover more about their own music and that of others.

Edited by Walter S. Mossberg

• Email us at mossbergsolution@wsj.com. Find this and other columns and videos online free at the All Things Digital Web site: http://walt.allthingsd.com

Next time you get comfortable on the couch, remember that you’re relaxing in the consumer electronics battleground: the living room. Major tech companies are pouring resources into products they hope you’ll use to remotely receive your computer’s content — namely videos, music and photos — in a more comfortable place.

But while some of these complex solutions are still struggling to catch on, digital music marched steadily into the land of recliners long ago. IPods naturally plug into home stereos, multiplying music collections and bringing playlists to parties. And an industry of devices sprouted up specifically for playing iPods and other music players to a crowd.

This week, I tested a new version of one of these dock systems that specializes in wirelessly distributing music via small, cube-shaped speakers that can be spread throughout your house: the $300 Evolve speaker system from Griffin Technology Inc. (http://evolvespeakers.com). This setup offers a straightforward and stylish solution, delivering what I consider good quality sound.

Griffin Technology’s $299.99 Evolve is an affordable wireless speaker system.

Griffin’s attempt at claiming valuable real estate in the living room pits it against Sonos Inc., a high-end competitor that is already well-established in the wireless-music arena. Sonos sends digital tunes from your computers to up to 32 rooms using an attractive remote with a full-color screen. But this system starts at $1,000, not including speakers, and its computer-related set-up might intimidate potential buyers.

Closer competitors to Griffin’s Evolve can be found in Brookstone and Hammacher Schlemmer catalogs, where similar wireless speaker systems for the iPod are sold for $150 (on sale) and $400, respectively. Brookstone’s set-up includes small, spherical wireless speakers and Hammacher’s uses bulkier, rectangular-shaped wireless speakers with visible antenna.

I tested the Evolve system using my iPod touch and a first generation iPod nano bought in 2005. Both devices worked with the system, and the Evolve speakers connected wirelessly to the base station from up to 150 feet away on the digital 900MHz spectrum, which doesn’t interfere with Wi-Fi and works through walls and floors. Two speakers come with the system, each carrying a charge of 10 hours according to Griffin, though I got 11 in my tests.

Evolve has some downsides. While it’s great to know that its speakers work 150 feet away from the base station and iPod, they can only be controlled by the base station or by a remote control in view of the base station. So, if you and the speakers are in a room without the base station, you can’t see any information about the song that’s playing, nor can you adjust the volume. Each speaker does have its own power button.

And when I switched from my iPod touch to the iPod nano, the Evolve remote stopped working, and I couldn’t get the remote to work with my iPod touch again. Griffin acknowledged a bug that occurs with speaker systems when an iPod isn’t up to date with the latest firmware, which it wasn’t, and assured me that updating the device, unplugging and re-plugging the Evolve would fix the issue. These fixes didn’t help, nor did repairing the remote, and there wasn’t time for Griffin to send a new remote. I continued to use Evolve without the remote, but hope that other units won’t operate like mine.

Griffin’s Evolve base station seems to hover just inches off the ground and is made of a brushed aluminum. Left to right, it measures about 16 inches, and an iPod dock and three buttons mark the center of the base station. Two squat antenna stand behind this dock, and square wells on the left and right give the speakers a place to rest while charging. These wire-free charging wells are designed with overcharge/undercharge protection, so each speaker’s battery isn’t harmed by resting on the base station for a long period of time.

When the remote was working with my iPod touch, I navigated through songs from across the room, pausing and adjusting volume. I easily carried the speakers into my kitchen using handles built into the back of these cubes, and my roommate enjoyed listening to Amy Winehouse in stereo while she made dinner. But during the actual dinner, when we wanted to turn the volume down, we had to walk back to the living room where the base station was located while calling down the hall to one another to find out if the sound was low enough.

Hidden indicator lights in each speaker tell whether they’re charged or not; orange signifies a charge is needed, while green means you’re in the clear. A switch on the base station changes the speaker sound from mono (useful when listening to audio books) to stereo. Each speaker contains built-in technology that assigns it to automatically know if it’s right or left. To conserve battery, a speaker that’s turned on but isn’t playing music will turn off after 60 minutes.

I kept my speakers on for 11 hours straight before they pooped out, moving them to different floors and as far from the base station as possible — the signal stayed strong. In just two hours, the pair was recharged. I kept the volume pretty low for at least half the time my speakers were on, and Griffin says lower volumes conserve battery, and vice versa. I listened to all sorts of music, including hip-hop, jazz, country, rock and classical. I’m no audiophile, but to my ear, the Evolve handled each genre with aplomb.

All iPods (even the iPhone) work with Griffin’s Evolve, and this gadget will also work when connected to other MP3 players, stereos, TVs, and CD players, which could come in handy. In early March, Griffin will sell add-on speakers for $99 each with separate charging plates for $30 apiece; $200 bundles will include two speakers and two charging plates. There’s no limit to the number of speakers that you can add to a system.

Though Griffin’s Evolve lacks some of the luxuries that high-end systems have, it solves a problem with minimal effort on the user’s part, and looks good while doing it. If you don’t mind returning to the base station to make adjustments, and if your remote doesn’t stop working, you’ll enjoy this sleek and functional device.

• Email mossbergsolution@wsj.com

Corrections & Amplifications:

Griffin Technology Inc.’s Evolve wireless sound system uses a remote that can control certain functions of the iPod, even when it is out of sight of the base station. This column erroneously implies that the remote must be in view of the system to work.

This week, I dived into the music blogging world of MOG.com, a Web site where enthusiasts can read, blog and network with one another. Starting today, this site will integrate with Rhapsody, the subscription-based music service, so that MOG users, or MOGGERS, can simultaneously blog about and listen to millions of songs that fuel their online discussions.

Rhapsody is now integrated into MOG’s site for music aficionados.

MOG Inc. prides itself on working as a destination for people who hope to discuss music tastes and opinions, like TripAdvisor.com works for travelers. MOG’s first public beta, or test version, came out about a year and a half ago.

Its use of a subscription model comes at a time when CD profits are lagging and larger social-networking sites are negotiating with record labels to incorporate music streaming. Plenty of people still prefer purchasing music a la Apple Inc.’s iTunes Store, where there aren’t restrictions due to streaming or subscriptions.

Along with built-in Rhapsody, this newly enhanced version of MOG includes other improvements, such as a better search engine and a speedy tool that generates personal profiles for each MOG user according to his or her musical tastes.

I was granted early access to MOG’s revamped site and was most impressed by its fast search tool, which works just like the Spotlight search in Apple’s operating system. Results are narrowed with each typed letter and returned in neatly divided categories. Best of all, music results came back as fast as if they were on my hard drive instead of various MOG pages and Rhapsody’s database.

MOG also does a good job of marrying its contents with Rhapsody in a way that isn’t overly obvious; tiny Play icons beside song titles can be selected to start hearing a tune through the Rhapsody player, which hums along in the background, and similar icons add songs to playlists in one step.

But for a site that prides itself on appealing to music enthusiasts, I found certain genres much more represented than others. The rock music category, for example, had plenty of related posts and coinciding Rhapsody music, but the classical music section was almost nonexistent and country tunes were poorly represented. I typed “Bach” into the search box, expecting to be flooded with results, but saw no music and only one post by a MOG user about why she thought Bach was a great composer. The company says it will fix this in the next couple of months.

Unlimited Rhapsody access costs $13 monthly and is offered free for the first 14 days. But, like all subscription models, it blocks access to music if you don’t pay this monthly fee. MOGGERS who don’t want to pay or don’t plan on using Rhapsody as much can choose from two free options: one that allows users to listen to 25 songs a month and another that only allows free 30-second clips of song.

MOGGERS can upload their own MP3s within blog posts on the site. But linking to Rhapsody songs was easier and faster.

I got started by clicking a giant “Magic Button” icon on the MOG site. This installed MOG-O-MATIC, a tool that automatically searched my computer’s hard drive for all of my music files, then indexed them and created a profile of my music taste on a personalized My MOG page. This tool was also available in the first version of MOG but is 10 times as fast now, indexing 10,000 songs an hour compared with 1,000 songs previously.

I liked that MOG-O-MATIC did some page-creation work for me, making a list of the songs I listened to most recently — regardless of what program I used to listen to the song (iTunes, Windows Media Player or Rhapsody). Another list that was automatically generated from my music showed which artist was best represented in my collection. If you don’t want the world to know about your Barry Manilow obsession, this list can be altered to fudge the truth.

Because MOG-O-MATIC scans your entire music collection, it knows what music you like. A Recommendations page shows you what other MOGGERS with similar tastes are listening to, helping you discover new tunes. I found these suggestions to be pretty accurate, and even discovered a great song on another MOGGER’s recommended playlist called “Summer Teeth” by Wilco. I checked out the page belonging to the MOGGER who created this playlist, and found other tunes that were in line with my musical taste.

Using Rhapsody, I played entire Web pages of recommended songs with one click. Likewise, entire music collections belonging to other people can be played the same way, as long as you have the right Rhapsody account to play that many songs.

I wrote a blog post on MOG about the newest album from “Fountains of Wayne,” and it automatically included a Play button icon, enabling the song I wrote about to play along with my post. This auto-linking is done with fill-in-the-blank boxes that tag each post with music.

MOG isn’t trying to be a social-networking site that enables all things. Instead, it focuses on one thing, music, and successfully improves the way people discuss, share and discover music online.

Email mossbergsolution@wsj.com.