Kongregate is a bit like public access, only on steroids and for games. The idea is this: get indie game makers in one place contributing games, then get lots of people playing those games, then support the system with ad revenue shared with the game makers. The model has grown rapidly, with millions of users and over 15,000 original games.

The newest project from Kongregate looks to connect artistic talent on projects, including musicians, composers, and sound designers wanting to work on game projects. The Collabs section will see artists and sound and music creators uploading their work to find collaborators. Initially, there’s a contest on, with competition for attention, cash, and studio prizes.

http://www.kongregate.com/collabs

The competition aside, this could be the beginning of a successful community for collaboration in the indie Flash gaming world. Assets are often uploaded under a Creative Commons license, and I see one of the top sounds draws on samples from Freesound.org. While career success is an obvious goal, the contributors so far appear to see sharing as a way to get there – in stark contrast to the model in the mainstream, big-business game industry. Quality is, of course, variable, but ask anyone in the game industry how to become successful and the answer is always make as much as you can. Getting work out there, even primitive, can be part of a learning process. So I’m eager to see what transpires as these kinds of communities grow.

There is an invariable comparison to Deviant Art – and you’ll see they’ve already begun to invade.

Oh yeah, and I quite like these glassy tendrils, rendered in Cinema 4D. Image (CC) Chaodeath. Now, make that run real-time. Or, erm, imagine those are virtual renderings of artists … collaborating.

Wired has a great mini-documentary on the score for the videogame Infamous. It’s chock full of sound design ear candy, not only served by the chops of composer Amon Tobin but the team at Sony Music and Sony’s entertainment division, as well. Curiously, Jonathan Mayer, Music Manager at SCEA, says explicitly that he doesn’t want composers writing interactive music. He’d prefer to have them write a conventional score and then adapt it to the interactive engine. Now, of course, around these parts we like the idea of composers finding ways to write genuinely generative and interactive scores. But in this case, Mayer is acting as a kind of remix artist for the game realm, sampling Tobin’s compositions and reconceiving them in the game world. That kind of collaboration could be powerful.

Chuck Doug, SCEA music director, overstates things a bit by claiming this game has a unique aesthetic. The visuals are a burnt-out, post apocalyptic city – yeah, been there quite a few times. The music involves lots of ethnic percussion-y instruments and bowed metal and deep booming sounds. (Let me get this straight: we’ll hear a plucky stringy thing, then a bowedy metally thing, then there will be a big boom!) So, generally, not some radical new departure from game and motion soundtracks. But regardless of its novelty, I’d be an utter killjoy to complain: it sounds utterly gorgeous.

Previously:

I got to listen in on a lot of gems regarding sound design from composer Troels Folmann. He doesn’t just bow metal instruments – he boils them.

GDC: Boiling Waterphones and Other Sonic Inspirations from Composer Troels Folmann

And on the subject of getting composers to write interactively, Matt Ganucheau has been teaching that way:

Teaching Adaptive Music with Games: Unity + Max/MSP, Meet Space Invaders!

While talk of notation is in the air, it’s worth noting that sheet music has a chance to make a comeback in the digital age. After all, passive musical consumption seems to have already peaked some time in the now-past 20th Century. The desire for fans to be able to play the music they love is strong as ever, evidenced by the popularity of the Rock Band and Guitar Hero phenomenon. If you really wanted to be optimistic, you could interpret the downturn in recorded music as a positive trend back to live music and personal performance – the very musical trends that had been eclipsed by recording in the first place.

As with digital music downloads, the hope in digital sheet music is, naturally, being able to connect fans with the growing variety of music they might want to play. Brick and mortar stores where you can buy sheet music have already largely gone the way of the dodo. Here in New York, the big victim this spring is the storied classical music supply around the corner from Carnegie Hall: Joseph Patelson Music House has gone online-only. Music recording can count on some sort of transition to new formats; music publishing has to find a way to rise from the ashes of a business that’s had to deal with the invention of the Internet and records.

Selling MP3s? Try Sheet Music, Too, Says TuneCore

Last week, the latest announcement on this frontier was a partnership between TuneCore and Musicnotes.com. That brings together two real success stories in this arena. TuneCore is an affordable, flat-fee service that distributes music across different online stores (iTunes, eMusic, Amazon MP3); they’ve worked with everyone from indie artists to Areha Franklin, Beck, Bjork, and Cirque du Soleil (among others). Talk long tail: they release more music per day than any single major does in a year.

Musicnotes is interesting in that their catalog of on-demand online sheet music, topping about 100,000 titles, has been accelerating in sales – even as the economic recession takes its toll on the rest of the industry. They also boast 100,000 daily visitors to their site, thanks in part to partnerships with big-name publishers like Alfred, Faber, Disney, and Universal.

So, how do you bridge downloadable tracks with scores?

To start out with, TuneCore is skimming the top of their long tail and turning their work into scores. That means any artist starting this month with more than 25,000 track sales in the last 90 days will get at least one of those songs scored by a pro and available for download, adding score royalties to track royalties. Artists eligible include various artists who might not get sheet music published by a traditional publisher – especially given the overhead conventionally associated with that. (Names as varied as Ziggy Marley, Boxer Rebellion, and MGMT count as “eligible,” though it’s not clear who will take them up on the offer.)

At the time of the announcement last week, Gavin Mikhail, William Fitzsimmons and Ingrid Michaelson had signed up. Michaelson’s pop singer-songwriter hit “The Way I Am” is one you may have already heard; as pictured here, that hit will be among the first offerings via the partnership. (The fact that you may have heard this tune via radio play – even if it’s via a college station – suggests that the old model may transition more gradually to a new model than hyped-up Internet pundits may suggest.)

The Online Notation Frontier

Notation has managed to survive centuries, so I suspect this could be just the beginning of a convergence in digital scoring. Since Sibelius announced a new release this morning, it’s worth noting that the company has long pushed online music with its Sibelius Scorch platform, which allows you to view and play scores as if you had a copy of the software used to create it. You can publish online directly from Sibelius’ software, and the platform is even used in sales. SheetMusicDirect (US site | worldwide) combines Scorch with a huge catalog of tunes. The company’s own Sibelius Music site, which can publish scores produced in Finale as well as Sibelius, just got a big update and has an active community. Some scores are free, but some are for sale – and anyone can open their own store.

In fact, given that, one question I have about the other stores is whether a dedicated sheet music score can have the success and brand loyalty an iTunes or even Amazon MP3 might, but we’ll see. (The other big question: will your Kindle soon display sheet music?)

For its part, musicnotes.com is happy to sell you tunes for Memorial Day or graduation, plus a free copy of Old Macdonald. (Yes, that’s the guy with the farm – that Old Macdonald.) Of course, Apple for their part seem to have dropped the ball on the whole idea; there’s been a lot of discussion about the fact that their GarageBand Lessons have been too few to make any real impact. But that shouldn’t stop other outlets from getting in on the act – and musicnotes.com sells lessons alongside sheet music, a key ingredient for selling sheet music being the ability to read it.

All this change is not without some wrinkles, as noted by Iowa City New Musical Resources blogger Peter GiIlette:

Sheet Music on the Web: Trends and Trials

He notes, for instance, the irony of the Web Library of 17th Century Music forbidding commercial performance of their online scores – you know, they just want a cut of all the money you’re making on … um … 17th Century musical performance.

At the same time, it’s telling that even G. Schirmer is getting in on its own on-demand delivery system.

So, my question to you is not to debate this in theory, but ask:

Have you found useful ways to sell or freely disseminate your own scores?

Have you bought a score online?

Is there a score you would buy online if an artist made it available, or if there were better stores available?

I’m curious what practical implications there may be.

And incidentally, these lead sheets and such are great, but I would absolutely buy alternative and strange experimental notation from electronic artists if they chose to deliver it.

Creating digital music is about more than audio. Notation remains an essential way to communicate among musicians. Notation is deep and complex, so there’s plenty to talk about. As a long-time Sibelius user, though I want to discuss some core techniques that I find open up a lot of other possibilities, techniques to which I continually return. I happen to be sharing this at a discussion at the City University of New York Graduate Center today, so the timing seems right.

Teachers and experimental, avant-garde composers have something in common: you often need to convince notation software to behave in a way that’s contrary to the expected norm.

To save you time, notation software generally assumes that all music has bars, and that those bars go from left to right with everything visible. This is especially true in Sibelius, which is able to perform as quickly as it does because everything you see on a score is relative to a position in a bar, rather than being set up arbitrarily as you would in a page layout program.

That works much of the time, but what if you have music that isn’t in a time signature? What if you’re transcribing early music or world music that doesn’t operate in 4/4? What if you’re making a quiz in which you don’t need bars, or want to have a blank space for students to fill in answers?

Updated: Just days after this feature, Sibelius announces Sibelius 6. Relevant to this story, this means at least some of the manual hacks for things like beaming across bars and feathered beams will now be automatic! Neat! I’ll have to do new tips for Sibelius 6 when it arrives.

Technique 1: Staves and Instrument Types

Oddly enough, the answer to all of these questions is basically the same: change the way the staff is displayed. You’ll still need to account for bars behind the scenes, but once you learn how to handle Sibelius’ staff options, this isn’t so difficult. This step is a bit confusing for those of us (hand raised) who have been using Sibelius since 1.0, as Sibelius 5 changed the name of this option from Staff Type Change to Instrument Change. (The latter makes more sense in conventional music, even though the former will make more sense for this tip.) But the technique is basically the same.

To insert a new instrument type, right-click (or ctrl-click on Mac, or choose Create) and select Other > Instrument Change.

Select Choose from > All Instruments and Family > Others (for the most generic type).

You’ll see some useful options already. In addition to choosing different numbers of lines, there’s an option that entirely hides a staff — “No instrument(hidden)” – and options that show just barlines or just bar rests.

Try selecting the “No instrument (bar rests shown)” option, then click in the score where you want the change to happen. You’ll see a blue rectangle around the barline at which the change is inserted. Clicking this barline in the center will allow you to select the change itself. Once selected, you can drag it left and right to change the point at which the change occurs, or press Delete to remove it. (That’s important for hiding portions of staves, as you’ll need to be able to select them even when hidden!)

You can imagine lots of possibilities for using this simple technique. For quizzes, for instance, you might simply hide the portion in which you want a student to fill in an answer. Or you can use those hidden bars to help space out a quiz. Or you can use some hidden bars to provide space for a graphical notation in a contemporary / experimental score.

For all of those applications, though, you may need some different variations.

To create your own instrument type, choose House Style > Edit Instruments.

Choose Ensembles > All Instruments, then Families in ensemble > Others to get the generic types.

Let’s try creating a staff type that looks like a normal treble staff, but hides the barlines. Select “Unnamed (treble staff)” and choose New Instrument… to create a new instrument that will be based on that existing instrument. Sibelius will ask if you’re sure. (It can smell uncertainty. You’re sure.)

Under “Name in dialogs,” choose a useful name, like “Treble staff (barlines hidden).”

There are actually lots of powerful options here, but skip straight to “Edit Staff Type.”

Under General, you can choose the number of staff lines and what objects are shown.

Uncheck Initial barline and Barlines, and you’ll have a staff with hidden barlines.

Also make sure to uncheck “Used as default staff.”

Bar rests won’t make much sense if you don’t have bars, so click the Notes and Rests tab, and uncheck “Bar rests.” You’ll want to leave the Rhythms options, because you probably do want rhythms in this case, just not the barlines and bar rests. (Unchecking Rhythms could be useful, though, for things like plainchant.)

Again, to insert, you’ll right click, choose Other > Instrument Change, and use the blue arrow to click where you want the change to go. Here’s our result:

And yes, this can be handy for printing out blank notation paper if you’ve run out / forgot your manuscript notebook. (Been there.)

One last note: you may have noticed that you still have bar numbers. Check House Style > Engraving Rules > Bar Numbers. Other global score settings are found here, so you should get in the habit of a trip to the Engraving Rules any time you’re creating a new score or developing a new template.

Technique 2: Noteheads

Just about anything you can’t do with staff types, you can do with noteheads.

The most useful notehead, of course, is a dead notehead.

Okay, that sounded like some sort of anti-notehead bitterness. But seriously, by hiding noteheads, again, you can create all sorts of alternative notations, and because stems are still visible, musicians can more easily see where beats are. You’ll also need noteheads for percussion notations and the like.

To change notehead types, make sure the floating Properties window is visible (Window > Properties). This is useful for changing other settings, too, so it’s well worth exploring. In the dropdown, you’ll see headless noteheads (position 7).

You can also edit your own Notehead types, just as with instruments and staff types, by selecting House Style > Edit Noteheads.

One other neat trick using the Notes panel is that you can turn on and off tuplet brackets. That allows a little hack that gives you feathered beams. You’ll find instructions under Feathered beams in the manual (p. 79 in my edition).

Technique 3: Locking Layout

The problem with just hiding barlines and such is that you still have bars underneath, and they’ll continue to automatically flow as Sibelius adjusts the layout. With most scores, that’s a good thing, but with ametrical scores or quizzes or short example snippets you want to export, that’s obviously a bad thing.

The solution? It’s time to learn the keyboard shortcuts for locking your layout in place.

System breaks: Click a barline and hit the enter key. You can insert forced system breaks just like carriage returns (line breaks) in a word processor. You’ll see an icon above the score both in the line with the break, and the line immediately following.

Page breaks: Ctrl-Return / Cmd-Return breaks the page.

Special breaks: You’ll find other options in Properties > Bars, including a Special Page Break that inserts a blank page. Click a barline first, then choose from the drop-down menu in Bars.

Indentation: You can move a line left or right by clicking the left-hand side of a stave, then moving it right with the left and right arrow keys. Hold down ctrl (PC) or cmd (Mac) to move by larger increments.

Expand or contract bars: Invariably, you’ll find some of the automatic spacing doesn’t look quite right – especially in these special cases. Click a bar, then press shift-alt (shift-opt) and the left and right arrow keys to make a bar wider or narrower.

If you ever get lost with any of these steps, Layout > Reset Position restores the default.

Technique 4: Exporting Score Snippets

At a certain point, as a composer or a teacher, you don’t always want to do all of your page layout in Sibelius. Likewise, I’m surprised that people don’t more often use little snippets of scores to communicate ideas, whether it’s highlighting a specific comment on a bigger score, or using notation software to quickly communicate short bits of music. Obviously, this is useful for musical examples in essays and the like, too.

When you’re ready to export parts of a score, you have several methods in Sibelius:

The graphics-copying way. Choose Edit > Select > Select Graphic (Alt-G), and Sibelius gives you a bounding box that allows you to select a portion of your score. (If you select your bars before choosing this option, it will attempt to snap to the right area, from which you can adjust it further if you like.)

Once you have the area selected the way you like, use the standard copy shortcut (ctrl-C / cmd-C), then choose your word processing or layout app and paste. To cancel out of this mode, hit Esc.

Most of the time, this is really all you need to do, unless you’re concerned about higher-quality output. In that case…

The export way. If you need to fine-tune output options and DPI, you should instead use File > Export > Export Graphics. Here, you can select the format you like. OpenOffice isn’t listed, but choosing the Sun StarOffice(TIFF) method is your best bet. For Word, choose the explicit Word EPS setting for the highest-quality output.

The PDF way. If you’re on a Mac or have Adobe Acrobat Professional (or another PDF generator) installed, there’s an additional way, which is to export to PDF. I find that inserting PDFs is the best way to go for inserting later to software like InDesign. The default PDF creator on Mac is pretty good, but a full version of Acrobat is often preferable to other options.

Screencast: Sibelius has a screencast of these techniques, which you’ll find from the opening screen.

Technique 5: Making Teaching Materials

The other techniques all work for teachers and composers alike, but when you do need to teach…

Does all of this seem like a lot of work? Still not sure how you combine the layout techniques above to make something look like a quiz, flash cards, or the like? Need to teach something and running short on time?

A recent feature in Sibelius is a comprehensive, shared set of teaching materials. (If you want to share and share alike, you can also publish your own materials to the site and spread the love.)

You’ll find the site itself at:

http://www.sibeliuseducation.com/

When you open the program or choose File > Worksheet Creator, you can tap into these resources.

Choose Template, and you’ll find a number of blank templates set up by activity (manuscript paper, worksheets and handouts, matching different materials, and flashcards).

If you want still additional help, ideas, and starters, choose Type of Material > Teaching and learning materials. You’ll want to limit your search, or loading the possibilities will take a long time. But from there, you can find all kinds of additional examples. Many of these come from the UK, so be prepared for English terminology and even UK-specific projects, but they’re still quite useful even if you’re American and tend not to call things “breves.”

Pick a category, and you’ll find other layouts that can be the basis of your own work, as well as some relatively generic materials that are useful to everyone.

Here’s what you’ll see as you dig into worksheets:

Pull up an example, and you’ll find something that you may be able to use as-is, or at least a template that could be useful for adapting to your own coursework.

There’s even a Circle of Fifths ready to go. (The only change you might need to make, depending on the part of the world in which you live, is to call it the Circle of Fourths!)

Other ideas?

This is a bit of a departure for CDM, but I know lots of you out there are producing notation for various reasons. I hope this was helpful, and if anyone wants to do a similar story for Finale or another tool, I’m happy to have it. Let us know what other tips you like or if you have additional questions.

Addendum

Having just done this workshop, it’s worth noting a couple of things I discovered.

First, Sibelius I see now has an option in Preferences to account for laptops that don’t have numeric keypads, making entry much easier (though I still prefer the numeric keypad layout):

Next, I was reminded that a lot of tricks use the Beam line type, which you’ll find in the Line dialog. Any old line will do, but this will look like your other beams. This way, you can manually draw in notations that the software itself may not recognize.

And it’s worth noting that a lot of beaming tricks can be accessed in one of two places:

1. Beam display in the Staff Type House Style (there’s a checkbox buried in there for forcing “horizontal beams,” alongside the options for hiding rests and such above)

2. Beam groups and beaming rules (including the ability to beam across rests) in the Time Signature dialog.

For Finale users, most of these basic strategies will translate to your notation tool of choice. Generally, Sibelius lets you select objects directly, whereas Finale uses specialized tools, selected by toolbar icons, for each job. That also means that when you’re using Finale, you may need to select the tool before you’re presented with variables related to that type of object, whereas Sibelius consolidates those settings under House Styles.

For instance, Finale edits the staff types via an item, accessed from its staff tool, called Define Staff Types. That dialog is very similar to the Staff Type and Instrument dialog above.

Ultimately, in fact, both Sibelius and Finale have a lot of the same strengths and shortcomings once you learn them, because fundamentally they do treat scores according to regular bars and barlines. Interestingly, Finale has the abilty to have independent time signatures on different staves, but it’s almost useless, because it still puts the barlines in the same place. (That is, both tools are limited in this respect.)

Game Audio: Selected Student Works from Matt Ganucheau on Vimeo.

In the early days of game sound, musical soundtracks were all largely adaptive and interactive, fused with the sound effects of the game and the logic of gameplay. Scores were less Alfred Newman or John Williams, more Spike Jones. Today, game music has the potential to reinvent composition itself, to help us reimagine what makes a musical score as on-screen user action drives musical ideas. But with a few, notable exceptions, most modern titles have opted for big, Hollywood-style soundtracks – and the linear composition that goes with them, as though someone just took a film score CD and hit play.

It’s one thing to talk about that in theory. Better yet: give it a shot yourself. So why not teach game music as its own discipline?

Matt Ganucheau, a composer, sound designer, and interactive developer/artist, is teaching just that, working with students at Expression College in Emeryville, California. The accelerated course works with the elegant Unity game engine and a clone of the legendary Space Invaders arcade game, adding music built in Max/MSP. If Max seems an unlikely choice, its open source cousin Pure Data (Pd) is actually integrated with the game engine for Electronic Arts’ Spore, with music by Brian Eno working with EA’s Kent Jolly and contributor Aaron McLeran. So, this could be the wave of the future. The first problem: figuring out how to actually compose.

The results are astonishing, given that the students were just learning Max and had extremely limited amounts of time. I asked Matt to write up for CDM how the coursework evolved; he shares his process and what he learned as a teacher. We’re also working on open sourcing the coursework content and the patches, which we’ll soon provide both for Pd and Max/MSP. I’m doing some work on the game side so that you can play with game mechanics in Processing. Stay tuned for more on that.

We spoke a bit about this process – and interactive music in general – with Xeni Jardin and Boing Boing in their Game Developer Conference livecast a week ago Friday. Edited video of that coming soon.

Here’s Matt on the coursework itself:

When faced with the challenge of updating our Game Audio course at Expression College, we wanted to create a course that reflected the increase of interest in adaptive and interactive audio in the current game industry. To do this successfully, we had to make sure our students had an understanding of how audio engines have evolved in the past eight years. Since our terms are only five weeks and our student body is comprised of non-programmers, this seemed like quite a daunting task. But having carefully fine-tuned the details, we feel we have a good recipe.

First, we begin by having the students build simple environments and place audio emitters inside the Unreal 2k environment. This shows them the restrictions of audio functionality in a proprietary engine. After a few labs with Unreal, the students are then introduced to the concepts of a middleware platform, using Audiokinetic’s WWise connected to the game Cube. Here, they are able to explore more interactive audio such as real-time control parameters and dynamic music changes. Finally, the students are introduced to Max/MSP. Lead through labs comprised of synthesis, sampling, basic programming concepts and sound design, we are able to arm the students will all of the information needed to create their own generative audio engine inside Max/MSP. By hacking away at a recreation of Space Invaders posted to the Unity3d forums (thank you, Eric Haines), we are able to pipe all of the real-time game data to Max/MSP via the UDP transport (with help from Bjerre).

Inside Max/MSP, the game data is received in our Unity2Max patch. With this initial infrastructure in place, the students are able to use the real-time events to remix the classic arcade game with their own audio engine. Piece by piece, we recreate the original audio engine through tasks such as creating the alternating pitched footsteps for the invaders, and a UFO spaceship noise with a flanger and a sine-wave, as well as mapping invader’s proximity to the music’s speed. For their final project, the students are allowed to use these tools to go in any stylistic direction they wish, as long as the music is adaptive.

We did not give students access to all of the game events because we didn’t want them to become overwhelmed with options. To our surprise, these restrictions created the opposite reaction. Students were frustrated by not having a message saying that the “UFO was destroyed”, so they hacked their own ways to find this out by deducing the change in points. In another example a student wanted the missile explosion to sound when the bunker was hit, so he placed a threshold on the missile flight time to be able to see if a bunker was hit. Hacks like these began to appear all over the students projects. This may seem like basic programming techniques to some, but to see this development come from a class of audio engineers is quite amazing.

Although this new course design has only been active for 4 months, we have seen a dramatic increase of interest from our students. Once a cultural standard like Space Invaders is deconstructed, the students become extremely excited to explore a new direction for the classic game. It still amazes me just how far students can go with only 3 weeks of Max/MSP instruction.

Unity Game Engine (recently updated to 2.5, and now both on Mac and Windows)

Cycling ‘74, Makers of Max/MSP

Expression College for Digital Arts

And the bits for this game, specifically:

Unity Invaders on the Unity Community Forum (the Space Invaders game used in the class)
Unity Invaders Site with downloadable, playable versions of the game
Discussion of UDP communication between Max and Unity, with the patch solution by Bjerre

Also, don’t miss the fantastic Pd-based book Designing Sound (well worth a read for Max users, as well). It’s an entire textbook built on the idea of doing interactive sound design in Pd, useful for games but other live and interactive sound, too – and while the emphasis is sound design rather than music per se, it remains a great reference on learning to patch and learning about audio synthesis.

Andy Farnell

We hear a lot about remix culture, but what does it actually mean – and does it mean anything? The founders of RemixAmerica.com hope to promote video mash-up as political discourse, by feeding Web denizens clips historical and new and remix, videocasting, and discussion tools. They’re lucky enough to have Sanford and Son and People for the American Way pioneer Norman Lear at their helm, too. We’ve got the story over on Create Digital Motion:

A New Online Community Focuses on Political Video Mashing; Here’s America Gone Psychedelic

I do want to point specifically to the video from Emergency Broadcast Network co-founder Brian Kane, particularly because of the musical score, by out-there electronic maestro David Last of Brooklyn. It’s a remade look at America’s 200th birthday, via animator Vincent Collins, and it illustrates just how important the sound of the remix can be.

Well, that and pulsing pink psychedelic Americana is just the thing for the after-4th of July week and election season here in the US. A good watch, all around.

I believe digital culture is about more than just remixes, and that buzzwords sometimes get ahead of the actual work. But part of what brings back the power of sampling is a return to its roots in political discussion – whatever your point of view may be, making some noise. Got other examples? Got a trippier animated film than the one above? Call them out in comments.

Don’t forget, if you’ve lost track of our visualist sister site, you can subscribe to Create Digital Motion’s feed.

Bebe Barron’s work went well beyond Forbidden Planet, however. She went on to produce music for film, tape, and technology well into her later life. She was an early leader of the Society for Electro-Acoustic Music, and continued — with her husband, and as a solo composer following his death — to lead the way in finding new compositional purposes for electronic sound. (And apparently even seduction through witchcraft! Viva electronics!)

We’ve seen a lot of obituaries in the three and a half years of this site; there’s no question that a generation of composers is passing into history. Bebe died of natural causes at age 82. I was struck by a quote from Barry Schrader, who called her "the last of the pioneering composers of classical studio electronic music." That may be, but listening to Bebe’s sounds and ideas, I wonder what the next generations might still be capable of pioneering, and who will take up the radical element from 1950s and 60s sound and bring it into the coming decades.

The best insight I’ve heard into the Barron’s work comes from a 2005 interview with Bebe on NPR’s Morning Edition:

The Barrons: Forgotten Pioneers of Electronic Music

Matrixsynth has an enormous obituary with lots of background information — a must-read:

RIP Bebe Barron

And here’s Bebe’s last interview, from the beginning of this year, speaking about Anais Nin. That’s poignant to me — my great aunt and uncle were part of the New York circle that ran with Anais Nin and crowd. It’s a reminder to value your crazy and radical creative friends, to keep supporting what they’re doing to enjoy the short time we all have to make art.

Anais Nin has the best quote — she described the Barrons’ music as sounding like "a molecule that has stubbed its toes."