TheSixtyOne.com does something innovative with some very old ideas.

The buzzword of Generation Y is “social,” and it’s not referring to quaint get-togethers involving ice cream sundaes. Music in particular has a rich history of being a very social art form, from its beginnings in public performance to the recent decades’ obsession with mix tapes. Translating this to the social networking paradigm that has emerged with “Web 2.0″ has become a chief concern to the music industry.

Enter TheSixtyOne.com, which harnesses the power of social networking while incorporating the more primal human need for shared artistic experience and critique. TheSixtyOne allows its artists to set up sites that provide free streaming music for an audience of listeners competing to prove their taste. Listeners vote for their favorite artists, and if a listener’s choice jumps in popularity the listener is rewarded with more points and a level boost. The way Digg users strive to become tastemakers in the community surrounding that site, TheSixtyOne listeners embark in a friendly competition to prove their credibility as music listeners.

The result is more exposure for unknown artists because users want to be exposed to new work that might be the next best trend. New artists are featured at the top of the network’s browsing page, guaranteeing dozens of views, views which can rise into the hundreds or thousands if the artist has some talent and a likable sound.

One interesting problem arising with TheSixtyOne is the introduction of mainstream acts which draw attention away from the independent artists the site tries to serve. Still, the top artists are largely unknown bands and solo acts that appeal to an audience looking to discover the next big thing.

There is a need in the music community to prove one’s merits as a listener and critic, something which I think makes this sort of site perfect for music consumption. I wonder if the same concept would translate well for video, photography, art, or literature. The desire for “taste cred” certainly exists in these communities, but not quite as strong as it does in the trend-obsessed world of music entertainment.